Bibliografie tematiche / Art – Australia

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Letteratura scientifica selezionata sul tema "Art – Australia"

Autore: Grafiati

Pubblicato: 4 giugno 2021

Ultima modifica: 20 febbraio 2023

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Articoli di riviste sul tema "Art – Australia"

Berlo, Janet Catherine. "Australian Art Exhibition Catalog:Dreamings; The Art of Aboriginal Australia." Museum Anthropology 14, no. 2 (May 1990): 31. http://dx.doi.org/10.1525/mua.1990.14.2.31.

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Bennett, James. "Islamic Art at The Art Gallery of South Australia." SUHUF 2, no. 2 (November 21, 2015): 285–90. http://dx.doi.org/10.22548/shf.v2i2.93.

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OVERÂ the past ten years, Australia has increasingly aware of Muslim cultures yet today there is still only one permanent public display dedicated to Islamic art in this country.Â Perhaps it is not surprising that the Art Gallery of South Australia in Adelaide made the pioneer decision in 2003 to present Islamic art as a special feature for visitors to this art museum. Adelaide has a long history of contact with Islam. Following the Art Galleryâ€™s establishment in 1881, the oldest mosque in Australia was opened in 1888 in the city for use by Afghan cameleers who were important in assisting in the early European colonization of the harsh interior of the Australian continent

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Mason, Matthew J. "Out of the Outback, into the Art World: Dotting in Australian Aboriginal Art and the Navigation of Globalization." ARTMargins 11, no. 3 (October 1, 2022): 67–88. http://dx.doi.org/10.1162/artm_a_00326.

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Abstract In recent decades, the popularity of Australian Aboriginal dot painting overseas has exploded, with works by some of Australia's leading artists selling for millions of dollars at auction, as well as featuring in major international exhibitions like the Venice Biennale and documenta. While this carries with it the risk of Aboriginal art and culture becoming diluted or commodified, this essay explores the origins and use of the ‘dotting’ typical of much Australian Aboriginal art of the Western and Central Deserts of Australia, as well as Aboriginal dot painting's circulation internationally, to consider how Aboriginal art's entry into the global art world might also represent an act of Indigenous self-determination. By leveraging the Western fascination with the ‘secret/sacred’ content often assumed to be hidden by these dots, Aboriginal artists have been able to generate an international market for their works. While Aboriginal communities remain among the most economically disadvantaged in Australia, Aboriginal art nevertheless provides a critical means by which Indigenous communities can support themselves, and, more importantly, operates as a form of cultural preservation and a tool by which Aboriginal peoples can assert their sovereignty.

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Thomson, John, and Joye Volker. "Australian visual arts: libraries and the new technologies." Art Libraries Journal 21, no. 1 (1996): 4–7. http://dx.doi.org/10.1017/s0307472200009676.

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Electronic networking has been welcomed in Australia not least because of its potential to help solve problems of distances within Australia and of the isolation of Australia. In the world as a whole, the Internet, and the World Wide Web in particular, is transforming the communication of art information and access to art images. Three Australian Web servers focus on the visual arts: Art Serve, Diva, and AusArts. A number of initiatives intended to provide online bibliographic databases devoted to Australian art were launched in the 1980s. More recently a number of CD-ROMs have been published. As elsewhere, art librarians in Australia need new skills to integrate these products of new technology into the art library, and to transform the latter into a multimedia resource centre.

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Boaden, Sue. "Education for art librarianship in Australia." Art Libraries Journal 19, no. 2 (1994): 5–6. http://dx.doi.org/10.1017/s0307472200008725.

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The growth of art history and art practice courses in Australia has been remarkable over the last 20 years. Unfortunately training for art librarianship has not matched this growth. There are eleven universities in Australia offering graduate degrees and post-graduate diplomas in librarianship but none offer specific courses leading towards a specialisation in art librarianship. ARLIS/ANZ provides opportunities for training and education. Advances in scholarly art research and publishing in Australia, the development of Australian-related electronic art databases, the growth of specialist collections in State and public libraries, and the increased demand by the general community for art-related information, confirm the need for well-developed skills in the management and dissemination of art information.

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Tréguier, Lucie, and William van Caenegem. "Copyright, Art and Originality: Comparative and Policy Issues." Global Journal of Comparative Law 8, no. 2 (September 25, 2019): 95–127. http://dx.doi.org/10.1163/2211906x-00802001.

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This article reviews the laws of France and of Australia in relation to artistic works copyright for useful articles. Australian law applies a different subsistence test to ‘applied art’ than to fine art, whereas French law makes no such distinction, applying the principle of ‘Unité de l’art’. The decision of the High Court of Australia in IceTV Pty Limited v Nine Network Australia Pty Limited [2009] 239 clr 458, which aligns the standard of originality more closely with that applied in European copyright law, invites reconsideration of the Australian approach in favour of a universal standard for all artistic works. A more contemporary understanding of what constitutes ‘art’ points in the same direction. In the result, there is no longer any need to apply a restrictive ‘artistic quality’ standard to works of applied art in Australia. Such an approach better aligns the tests of artistic copyright subsistence in different jurisdictions.

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Parrott, June. "Art Education in Australia." Journal of Aesthetic Education 21, no. 3 (1987): 114. http://dx.doi.org/10.2307/3332877.

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Hornshaw, B. L. "Primitive Art in Australia." Mankind 1, no. 1 (February 10, 2009): 21–22. http://dx.doi.org/10.1111/j.1835-9310.1931.tb00841.x.

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Pardy, John. "Remembering and forgetting the arts of technical education." History of Education Review 49, no. 2 (November 12, 2020): 181–93. http://dx.doi.org/10.1108/her-02-2020-0009.

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PurposeTechnical education in the twentieth century played an important role in the cultural life of Australia in ways are that routinely overlooked or forgotten. As all education is central to the cultural life of any nation this article traces the relationship between technical education and the national social imaginary. Specifically, the article focuses on the connection between art and technical education and does so by considering changing cultural representations of Australia.Design/methodology/approachDrawing upon materials, that include school archives, an unpublished autobiography monograph, art catalogues and documentary film, the article details the lives and works of two artists, from different eras of twentieth century Australia. Utilising social memory as theorised by Connerton (1989, 2009, 2011), the article reflects on the lives of two Australian artists as examples of, and a way into appreciating, the enduring relationship between technical education and art.FindingsThe two artists, William Wallace Anderson and Carol Jerrems both products of, and teachers in, technical schools produced their own art that offered different insights into changes in Australia's national imaginary. By exploring their lives and work, the connections between technical education and art represent a social memory made material in the works of the artists and their representations of Australia's changing national imaginary.Originality/valueThis article features two artist teachers from technical schools as examples of the centrality of art to technical education. Through the teacher-artists lives and works the article highlights a shift in the Australian cultural imaginary at the same time as remembering the centrality of art to technical education. Through the twentieth century the relationship between art and technical education persisted, revealing the sensibilities of the times.

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Gilchrist, Stephen, and Henry Skerritt. "Awakening Objects and Indigenizing the Museum: Stephen Gilchrist in Conversation with Henry F. Skerritt." Contemporaneity: Historical Presence in Visual Culture 5 (November 30, 2016): 108–21. http://dx.doi.org/10.5195/contemp.2016.183.

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Curated by Stephen Gilchrist, Everywhen: The Eternal Present in Indigenous Art from Australia was held at Harvard Art Museums from February 5, 2016–September 18, 2016. The exhibition was a survey of contemporary Indigenous art from Australia, exploring the ways in which time is embedded within Indigenous artistic, social, historical, and philosophical life. The exhibition included more than seventy works drawn from public and private collections in Australia and the United States, and featured many works that have never been seen outside Australia. Everywhen is Gilchrist’s second major exhibition in the United States, following Crossing Cultures: The Owen and Wagner Collection of Contemporary Aboriginal Australian Art at the Hood Museum of Art in 2012. Conducted on April 22, 2016, this conversation considers the position of Indigenous art in the museum, and the active ways in which curators and institutions can work to “indigenize” their institutions. Gilchrist discusses the evolution of Everywhen, along with the curatorial strategies employed to change the status of object-viewer relations in the exhibition. The transcription has been edited for clarity.

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Tesi sul tema "Art – Australia"

Gibson, Lisanne, and L. Gibson@mailbox gu edu au. "Art and Citizenship- Governmental Intersections." Griffith University. School of Film, Media and Cultural Studies, 1999. http://www4.gu.edu.au:8080/adt-root/public/adt-QGU20030226.085219.

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The thesis argues that the relations between culture and government are best viewed through an analysis of the programmatic and institutional contexts for the use of culture as an interface in the relations between citizenship and government. Discussion takes place through an analysis of the history of art programmes which, in seeking to target a 'general' population, have attempted to equip this population with various particular capacities. We aim to provide a history of rationalities of art administration. This will provide us with an approach through which we might understand some of the seemingly irreconcilable policy discourses which characterise contemporary discussion of government arts funding. Research for this thesis aims to make a contribution to historical research on arts institutions in Australia and provide a base from which to think about the role of government in culture in contemporary Australia. In order to reflect on the relations between government and culture the thesis discusses the key rationales for the conjunction of art, citizenship and government in post-World War Two (WWII) Australia to the present day. Thus, the thesis aims to contribute an overview of the discursive origins of the main contemporary rationales framing arts subvention in post-WWII Australia. The relations involved in the government of culture in late eighteenth-century France, nineteenth-century Britain, America in the 1930s and Britain during WWII are examined by way of arguing that the discursive influences on government cultural policy in Australia have been diverse. It is suggested in relation to present day Australian cultural policy that more effective terms of engagement with policy imperatives might be found in a history of the funding of culture which emphasises the plurality of relations between governmental programmes and the self-shaping activities of citizens. During this century there has been a shift in the political rationality which organises government in modern Western liberal democracies. The historical case studies which form section two of the thesis enable us to argue that, since WWII, cultural programmes have been increasingly deployed on the basis of a governmental rationality that can be described as advanced or neo-liberal. This is both in relation to the forms these programmes have taken and in relation to the character of the forms of conduct such programmes have sought to shape in the populations they act upon. Mechanisms characteristic of such neo-liberal forms of government are those associated with the welfare state and include cultural programmes. Analysis of governmental programmes using such conceptual tools allows us to interpret problems of modern social democratic government less in terms of oppositions between structure and agency and more in terms of the strategies and techniques of government which shape the activities of citizens. Thus, the thesis will approach the field of cultural management not as a field of monolithic decision making but as a domain in which there are a multiplicity of power effects, knowledges, and tactics, which react to, or are based upon, the management of the population through culture. The thesis consists of two sections. Section one serves primarily to establish a set of historical and theoretical co-ordinates on which the more detailed historical work of the thesis in section two will be based. We conclude by emphasising the necessity for the continuation of a mix of policy frameworks in the construction of the relations between art, government and citizenship which will encompass a focus on diverse and sometimes competing policy goals.

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Schilo, Ann. "Folk art in Australia: A discursive analysis." Thesis, Schilo, Ann (1993) Folk art in Australia: A discursive analysis. PhD thesis, Murdoch University, 1993. https://researchrepository.murdoch.edu.au/id/eprint/52760/.

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Informed by the writings of Michel Foucault, this thesis investigates the discourse on folk art in Australia. Emphasis is placed on exploring the recent emergence of a body of statements that contribute to its Australian specificity. This thesis considers the various discursive strategies that construct the domain of folk art in this country, including the contribution played by overseas folkloric studies in establishing the field. By using a framework operating under the principle of distance and immediacy, the processes of production and dissemination of cultural goods are examined to reveal how material folk culture is located as a peripheral artistic practice. In this regard, the systems of exclusion that operate within high art discourses to define and marginalise women's artistic practice are surveyed as a concomitant discursive domain. A study of makeshift furniture is undertaken to elucidate how these strategies combined with processes of connoisseurship are involved in constructing the domain of Australian folk art and the appraisal of its cultural value. In the final analysis, attention is given to the subject of aesthetics and the appreciation of folk art.

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Vernon, Kay. "Searching for the surreal in Australian modernism." Thesis, The University of Sydney, 1999. https://hdl.handle.net/2123/28545.

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[Surrealism] changed the face of art. Everything has changed. (James Gleeson) A pervasive modern sensibility This study adopts several approaches to surrealist practices in Australia. The first is an historiographical one, in which I map surrealism's (re)presentafion in Australian art historical texts. Second, I identify the emergence of surrealism in modernist discourses in Australia, including mass media and popular culture. I then contextualise surrealism in an epistemology of privileged subjectivity in Australia, in which an understanding of Freud, Jung, theosophy and Bergson are seen to inflect the apprehension of surrealism. As psychoanalysis in particular is so crucial to an understanding of surrealism, I have attempted to identify those ideas of Freud active in its construction. In addition, I have included reference to Jacques Lacan, whose ideas were constituted in the psychoanalysis of Freud and initiated in the surrealist milieu. I have also drawn on the discourses of rhetoric to unpack the surreal in Australian landscape practices in the 19405. And as surrealism developed in Melbourne, particularly, against a background of various claims on the left, I have situated it also in marxist discourses. Over the past two decades in art historical texts, surrealism has been recuperated as crucial to the construction of a legitimate Australian modernism. These arguments have been rehearsed thoroughly in the review of the literature in Chapter I. The explanation for this resurgence can be attributed partly to the emergence in art history, as in other academic disciplines, of theoretical concerns active also in surrealism, particularly psychoanalysis and marxism. But there are still gaps in this recuperative project which this study will attempt to address. First, with few exceptions in the texts I draw on in the review of the literature in Chapter 1, surrealism is represented as having emerged in Australian visual art practices at the end of the 19305 and continuing into 1940s. But as this study will show surrealism, like the latent signifier in the 'return of the repressed', insisted in signifying practices in Australia during the 19303, particularly through mass media and popular discourses. Surrealism as a contemporary European style or tendency became available initially through imported reproductions and in publications, such as Minotaure and Herbert Read's Art Now and in local magazines such as Stream and Manuscripts. As the decade progressed surrealist imagery was appropriated increasingly as the latest modern style for photographs and advertisements in such popular Australian magazines as The Home and Man and also Art in Australia.

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Weston, Neville. "The professional training of artists in Australia, 1861-1963, with special reference to the South Australian model /." Title page, contents and abstract only, 1991. http://web4.library.adelaide.edu.au/theses/09PH/09phw535.pdf.

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Young, Amanda M., University of Western Sydney, of Performance Fine Arts and Design Faculty, and School of Design. "Several interpretations of the Blue Mountains : a juxtaposition of ideas over two hundred years." THESIS_FPFAD_SD_Young_A.xml, 1997. http://handle.uws.edu.au:8081/1959.7/607.

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In 1815 the Blue Mountains were first identified as a unique landscape when Governor Macquarie took a tour over them and located the nineteenth century principles of the Sublime and Picturesque within its' landscape. Until this time the Blue Mountains were considered to be a hostile impenetrable barrier to the West. This paper examines some of the ways the Blue Mountains has been represented in the past, and has been identified as a tourist destination through interpretations imposed on the landscape by the tourist industry since that time. The areas covered deal with the heritage of British Colonialism as a way of forming opinions about the Australian landscape. Then, the theories of the Picturesque and Sublime are examined when applied to the Blue Mountains landscape. The final chapters in this paper deal with contemporary issues that have shaped the way the tourist industry is encouraged to encounter the Blue Mountains landscape<br>Master of Arts (Hons)

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Bemrose, Anna. "A servant of art : Robert Helpmann in Australia /." St. Lucia, Qld, 2003. http://www.library.uq.edu.au/pdfserve.php?image=thesisabs/absthe17332.pdf.

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Susino, George J. "Microdebitage and the archaeology of rock art an experimental approach /." Connect to full text, 1999. http://hdl.handle.net/2123/606.

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Thesis (M. Sc.)--University of Sydney, 2000.<br>Title from title screen (viewed Apr. 21, 2008). Submitted in fulfilment of the requirements for the degree of Master of Science to the Division of Geography, School of Geosciences. Degree awarded 2000; thesis submitted 1999. Includes bibliography. Also available in print form.

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Shorter, Mark Travers. "Variety theatre, performance art and the carnivalesque." Phd thesis, Sydney College of the Arts, 2011. http://hdl.handle.net/2123/12477.

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Shaw, Peter. "The conceptions of art practice held by tertiary visual art students." Thesis, Queensland University of Technology, 1993. https://eprints.qut.edu.au/36703/1/36703_Digitised%20Thesis.pdf.

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This study explores student learning in a tertiary visual arts institution. Students' conceptions of art practice are described using the phenomenologically based educational research method of phenomenography. The study addresses the intentional content of student art practice in the contexts of the visual arts institution and the status of visual arts in the 1990s. Data collection was carried out through interviews with Honours Year visual arts students, which was processed using textual analysis to examine understandings related to the visual arts.

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Tzavaras, Annette. "Transforming perceptions of Islamic culture in Australia through collaboration in contemporary art." Faculty of Creative Arts, 2008. http://ro.uow.edu.au/theses/120.

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My creative work investigates the negative space, the ‘in between space’ that leads to new knowledge about other artists and other cultures. The fundamental and distinctive elements of Islamic pattern in my paintings in the exhibition Dialogue in Diversity are based on my own experience of misinformation as well as rewarding collaboration within a culturally blended family.This research explores the continuity of the arabesque and polygon. I experiment with the hexagon and its geometric shapes, with its many repeat patterns and the interrelatedness of the negative space, or the void indicative of the space between layers of past and present civilizations that are significant fundamentals in my paintings.The thesis Transforming perceptions of Islamic culture in Australia through collaboration in contemporary art traces the visual history of Orientalist art, beginning with a key image of Arthur Streeton, Fatima Habiba, painted in 1897 and contrasts Streeton’s perception with that of important Islamic women artists working globally such as Emily Jacir who participated in the Zones of Contact 2006 Biennale of Sydney.A core element of my research is working with emerging artists from Islamic backgrounds in Western Sydney. The February 2007 exhibition Transforming Perceptions Via . . . at the University of Wollongong brought together artists from east and west.By adopting the Islamic pattern in my paintings, I hope to strengthen the interaction between the Christian and Muslim interface in Australian contemporary society. My work contemplates the human aspects of relationships and responsibilities within the cross cultural spectrum.

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Libri sul tema "Art – Australia"

1964-, Croft Brenda L., ed. Indigenous art: Art Gallery of Western Australia. Perth, WA: Art Gallery of Western Australia, 2001.

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Richardson, Donald. Art in Australia. Melbourne, Australia: Longman Cheshire, 1988.

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Art of Australia. Sydney, N.S.W: Pan Macmillan Australia, 2008.

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1954-, Dufour Gary, ed. State art collection: Art Gallery of Western Australia. [Perth], W.A: The Gallery, 1997.

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An intimate Australia: The landscape & recent Australian art. Sydney, NSW: Hale & Iremonger, 1985.

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Australia, National Gallery of. Australian art in the National Gallery of Australia. Edited by Gray Anne 1947-. [Canberra]: National Gallery of Australia, 2002.

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Finley, Carol. Aboriginal art of Australia: Exploring cultural traditions. Minneapolis, MN: Lerner Publications, 1999.

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Butler, Roger. Poster art in Australia: The streets as art galleries : walls sometimes speak. Canberra: National Gallery of Australia, 1993.

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Kate, Darian-Smith, and Monash University ePress, eds. Seize the day: Exhibitions, Australia and the world. Clayton, Vic: Monash University ePress, 2008.

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Radford, Ron. 19th-century Australian art: M.J.M. Carter Collection, Art Gallery of South Australia. Adelaide: Art Gallery Board of South Australia, 1993.

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Capitoli di libri sul tema "Art – Australia"

Glikson, Michal. "Australia and India: The Second Scroll: Australind." In Peripatetic Painting: Pathways in Social, Immersive, and Empathic Art Practice, 65–187. Singapore: Springer Nature Singapore, 2022. http://dx.doi.org/10.1007/978-981-16-4005-6_3.

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Catt, James. "Australia: QMS in IVF Centres." In Quality Management in ART Clinics, 233–37. Boston, MA: Springer US, 2012. http://dx.doi.org/10.1007/978-1-4419-7139-5_21.

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Balme, Jane, Sue O’Connor, and Michelle C. Langley. "Marine shell ornaments in northwestern Australia." In The Archaeology of Portable Art, 258–73. New York : Routledge, 2018.: Routledge, 2018. http://dx.doi.org/10.4324/9781315299112-16.

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Wright, Christine. "‘an art which owes its perfection to War’: Skills of Veterans." In Wellington's Men in Australia, 93–114. London: Palgrave Macmillan UK, 2011. http://dx.doi.org/10.1057/9780230306035_6.

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McLeod, W. R. "Certification Procedures in Australia and New Zealand." In Psychiatry The State of the Art, 231–32. Boston, MA: Springer US, 1985. http://dx.doi.org/10.1007/978-1-4757-1853-9_34.

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Carter, David. "Yiwarra Kuju—One Road: Storytelling and History Making in Aboriginal Art." In Transcultural Connections: Australia and China, 219–30. Singapore: Springer Singapore, 2021. http://dx.doi.org/10.1007/978-981-16-5028-4_14.

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Goldney, Robert D. "Videotape in Psychiatric Education in Adelaide, South Australia." In Psychiatry The State of the Art, 339–44. Boston, MA: Springer US, 1985. http://dx.doi.org/10.1007/978-1-4757-1853-9_53.

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Veth, Peter. "From Discovery to Commoditization: Rock Art Management in Remote Australia." In A Companion to Rock Art, 546–61. Chichester, UK: John Wiley & Sons, Ltd, 2012. http://dx.doi.org/10.1002/9781118253892.ch31.

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Taçon, Paul S. C., June Ross, Alistair Paterson, and Sally May. "Picturing Change and Changing Pictures: Contact Period Rock Art of Australia." In A Companion to Rock Art, 420–36. Chichester, UK: John Wiley & Sons, Ltd, 2012. http://dx.doi.org/10.1002/9781118253892.ch24.

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Siddins, Eileen. "Exploring Visual Art Students’ Wellbeing: A Multi-level Research Approach." In Mental Health and Higher Education in Australia, 125–49. Singapore: Springer Singapore, 2022. http://dx.doi.org/10.1007/978-981-16-8040-3_8.

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Atti di convegni sul tema "Art – Australia"

Li, Qiuyu. "Australia Media Studies." In 2021 International Conference on Education, Language and Art (ICELA 2021). Paris, France: Atlantis Press, 2022. http://dx.doi.org/10.2991/assehr.k.220131.058.

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Martin, Professor the Hon Stephen. "The Black Art of Economic Forecasting Lessons from Australia." In Annual International Conference on Qualitative and Quantitative Economics Research. Global Science & Technology Forum (GSTF), 2015. http://dx.doi.org/10.5176/2251-2012_qqe15.01.

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Moulis, Antony. "Architecture in Translation: Le Corbusier’s influence in Australia." In LC2015 - Le Corbusier, 50 years later. Valencia: Universitat Politècnica València, 2015. http://dx.doi.org/10.4995/lc2015.2015.752.

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Abstract: While there is an abundance of commentary and criticism on Le Corbusier’s effect upon architecture and planning globally – in Europe, Northern Africa, the Americas and the Indian sub-continent – there is very little dealing with other contexts such as Australia. The paper will offer a first appraisal of Le Corbusier’s relationship with Australia, providing example of the significant international reach of his ideas to places he was never to set foot. It draws attention to Le Corbusier's contacts with architects who practiced in Australia and little known instances of his connections - his drawing of the City of Adelaide plan (1950) and his commission for art at Jorn Utzon's Sydney Opera House (1958). The paper also considers the ways that Le Corbusier’s work underwent translation into Australian architecture and urbanism in the mid to late 20th century through the influence his work exerted on others, identifying further possibilities for research on the topic. Keywords: Le Corbusier; post-war architecture; international modernism; Australian architecture, 20th century architecture. DOI: http://dx.doi.org/10.4995/LC2015.2015.752

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Seevinck, Jennifer, Linda Candy, and Ernest A. Edmonds. "Exploration and reflection in interactive art." In the 20th conference of the computer-human interaction special interest group (CHISIG) of Australia. New York, New York, USA: ACM Press, 2006. http://dx.doi.org/10.1145/1228175.1228202.

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O'Brien, J. "Construction Automation and Robotics in Australia - A State-of-the-Art Review." In 8th International Symposium on Automation and Robotics in Construction. International Association for Automation and Robotics in Construction (IAARC), 1991. http://dx.doi.org/10.22260/isarc1991/0009.

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O'Brien, J. "Robotics and Intelligent Machines in Australia - A State of the Art Report." In 9th International Symposium on Automation and Robotics in Construction. International Association for Automation and Robotics in Construction (IAARC), 1992. http://dx.doi.org/10.22260/isarc1992/0010.

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Carley, James T., and Tom Denniss. "Electrical Energy from Ocean Waves—History and State of the Art in Australia." In 27th International Conference on Coastal Engineering (ICCE). Reston, VA: American Society of Civil Engineers, 2001. http://dx.doi.org/10.1061/40549(276)272.

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Chun Wai, Wilson Yeung, and Estefanía Salas Llopis. "THE SPACE BETWEEN US." In INNODOCT 2020. Valencia: Editorial Universitat Politècnica de València, 2020. http://dx.doi.org/10.4995/inn2020.2020.11901.

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This article explores how to integrate the collective creation of contemporary art exhibitions, and how to transform exhibition works into contemporary language and novel visual art materials, thereby generating cultural exchange between Australia and Spain. The Space Between Us (2017- ), co-curated by Australian artist-curator Wilson Yeung and Spanish artist Estefanía Salas Llopis, resolve these questions by examining the contemporary art exhibition. This paper also asks how to transform art exhibitions into laboratories, how artists and curators work together in a collective innovation environment, how collective creation generates new knowledge, and how to develop collective creation among creative participants from different cultures and backgrounds.

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Peel*, Frank J., Gillian M. Apps, Esther Sumner, and David “Stan” Stanbrook. "The Dark Art of Palaeobathymetry: How Can We Reconstruct the Shape of the Sea Floor in Structurally Active Regions?" In International Conference and Exhibition, Melbourne, Australia 13-16 September 2015. Society of Exploration Geophysicists and American Association of Petroleum Geologists, 2015. http://dx.doi.org/10.1190/ice2015-2203072.

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Marquis, Jenefer, and Theodor Wyeld. ""Seeing Mardayin': Instability and Ambiguity in the Art of John Mawurndjul, Kuninjku, Arnhem Land, Northern Australia." In 2009 13th International Conference Information Visualisation, IV. IEEE, 2009. http://dx.doi.org/10.1109/iv.2009.81.

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Rapporti di organizzazioni sul tema "Art – Australia"

Buchanan, Riley, Daniel Elias, Darren Holden, Daniel Baldino, Martin Drum, and Richard P. Hamilton. The archive hunter: The life and work of Leslie R. Marchant. The University of Notre Dame Australia, 2021. http://dx.doi.org/10.32613/reports/2021.2.

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Professor Leslie R. Marchant was a Western Australian historian of international renown. Richly educated as a child in political philosophy and critical reason, Marchant’s understandings of western political philosophies were deepened in World War Two when serving with an international crew of the merchant navy. After the war’s end, Marchant was appointed as a Protector of Aborigines in Western Australia’s Depart of Native Affairs. His passionate belief in Enlightenment ideals, including the equality of all people, was challenged by his experiences as a Protector. Leaving that role, he commenced his studies at The University of Western Australia where, in 1952, his Honours thesis made an early case that genocide had been committed in the administration of Aboriginal people in Western Australia. In the years that followed, Marchant became an early researcher of modern China and its relationship with the West, and won respect for his archival research of French maritime history in the Asia-Pacific. This work, including the publication of France Australe in 1982, was later recognised with the award of a French knighthood, the Chevalier d’Ordre National du Mèrite, and his election as a fellow to the Royal Geographical Society. In this festschrift, scholars from The University of Notre Dame Australia appraise Marchant’s work in such areas as Aboriginal history and policy, Westminster traditions, political philosophy, Australia and China and French maritime history.

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Thomson, Sue, Nicole Wernert, Sima Rodrigues, and Elizabeth O'Grady. TIMSS 2019 Australia. Volume I: Student performance. Australian Council for Educational Research, December 2020. http://dx.doi.org/10.37517/978-1-74286-614-7.

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The Trends in International Mathematics and Science Study (TIMSS) is an international comparative study of student achievement directed by the International Association for the Evaluation of Educational Achievement (IEA). TIMSS was first conducted in 1995 and the assessment conducted in 2019 formed the seventh cycle, providing 24 years of trends in mathematics and science achievement at Year 4 and Year 8. In Australia, TIMSS is managed by the Australian Council for Educational Research (ACER) and is jointly funded by the Australian Government and the state and territory governments. The goal of TIMSS is to provide comparative information about educational achievement across countries in order to improve teaching and learning in mathematics and science. TIMSS is based on a research model that uses the curriculum, within context, as its foundation. TIMSS is designed, broadly, to align with the mathematics and science curricula used in the participating education systems and countries, and focuses on assessment at Year 4 and Year 8. TIMSS also provides important data about students’ contexts for learning mathematics and science based on questionnaires completed by students and their parents, teachers and school principals. This report presents the results for Australia as a whole, for the Australian states and territories and for the other participants in TIMSS 2019, so that Australia’s results can be viewed in an international context, and student performance can be monitored over time. The results from TIMSS, as one of the assessments in the National Assessment Program, allow for nationally comparable reports of student outcomes against the Melbourne Declaration on Educational Goals for Young Australians. (Ministerial Council on Education, Employment, Training and Youth Affairs, 2008).

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Thomson, Sue, Nicole Wernert, Sarah Buckley, Sima Rodrigues, Elizabeth O’Grady, and Marina Schmid. TIMSS 2019 Australia. Volume II: School and classroom contexts for learning. Australian Council for Educational Research, April 2021. http://dx.doi.org/10.37517/978-1-74286-615-4.

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This is the second of two reports that look at the results of TIMSS 2019 and Australia’s performance. Volume I focuses specifically on the achievement results, detailing Australia’s results within the international context, and presents results for the Australian jurisdictions, and for the different demographic groups within Australia, including male and female students. This report, Volume II, presents the results from the contextual questionnaires, and examines the contexts in which learning and achievement occur, including home, school, and classroom contexts, as well as student attitudes. Each chapter focuses on different indicators that cover the school community, the school learning environment, mathematics and science teacher characteristics, mathematics and science classroom learning environments, and students’ attitudes and beliefs. Together, the different indicators of student and school life illustrate some of the many key aspects that make up the school experience.

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Thomson, Sue. PISA 2018: Australia in Focus Number 1: Academic resilience among Australian students. Australian Council for Educational Research, March 2021. http://dx.doi.org/10.37517/978-1-74286-624-6.

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Socioeconomically disadvantaged students (i.e. those whose scores on a constructed measure of social and cultural capital are below a specified cut-off, usually the 25th percentile) have been found to be more likely to drop out of school, repeat a grade, achieve lower levels at senior secondary school, and score lower on tests such as the Programme for International Student Assessment (PISA). Despite this association between socioeconomic disadvantage and poorer outcomes related to education, a percentage of students who come from disadvantaged backgrounds enjoy success at school. This apparent success despite the odds is of interest to researchers and educators alike – what, if any, characteristics do these academically resilient students share, why might this be and what can we learn from this group of students, however small, that might assist in improving outcomes for all students, regardless of their socioeconomic background?

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Burns-Dans, Elizabeth, Alexandra Wallis, and Deborah Gare. A History of the Architects Board of Western Australia, 1921-2021. The Architects Board of Western Australia and The University of Notre Dame Australia, 2021. http://dx.doi.org/10.32613/reports/2021.1.

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An economic and population boom in the 1890s created opportunities for architects to find work and fame in Western Australia. Architecture, therefore, became a viable profession for the first time, and the number of practicing architects in the colony (and then state) quickly grew. Associations such as the Western Australian Institute of Architects were established to organise the profession, but as the number of architects grew and Western Australian society matured, it became evident that a role for government was required to ensure practice standards and consumer protection. In 1921, therefore, the Architects Act was passed, and, in the following year, the Architects Board of Western Australia was launched. This report traces the evolution and transformation of professional architectural practice since then, and evaluates the role and impact of the Board in its first century.

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Dix, Katherine, Syeda Kashfee Ahmed, Toby Carslake, and Shani Sniedze-Gregory. Evidence of impact underpinning Life Education Programs. Life Education Australia, September 2021. http://dx.doi.org/10.37517/978-1-74286-643-7.

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This rapid evaluation of core Life Education programs conducted by the Australian Council for Educational Research (ACER) in June 2021 is an independent investigation that demonstrates the evidence base underpinning Life Education programs in primary schools Australia-wide. It presents a national snapshot by drawing upon existing Life Education-specific evaluation data, existing ACER student wellbeing data, and accepted best practice in the field of student health and wellbeing education. The project addressed the key evaluation questions: How are core Life Education programs underpinned by evidence-based best practice, and how are core Life Education programs impacting primary-aged student wellbeing outcomes that align to the health and physical education Australian and State Curriculums?

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Gattenhof, Sandra, Donna Hancox, Sasha Mackay, Kathryn Kelly, Te Oti Rakena, and Gabriela Baron. Valuing the Arts in Australia and Aotearoa New Zealand. Queensland University of Technology, December 2022. http://dx.doi.org/10.5204/rep.eprints.227800.

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The arts do not exist in vacuum and cannot be valued in abstract ways; their value is how they make people feel, what they can empower people to do and how they interact with place to create legacy. This research presents insights across Australia and Aotearoa New Zealand about the value of arts and culture that may be factored into whole of government decision making to enable creative, vibrant, liveable and inclusive communities and nations. The COVID-19 pandemic has revealed a great deal about our societies, our collective wellbeing, and how urgent the choices we make now are for our futures. There has been a great deal of discussion – formally and informally – about the value of the arts in our lives at this time. Rightly, it has been pointed out that during this profound disruption entertainment has been a lifeline for many, and this argument serves to re-enforce what the public (and governments) already know about audience behaviours and the economic value of the arts and entertainment sectors. Wesley Enoch stated in The Saturday Paper, “[m]etrics for success are already skewing from qualitative to quantitative. In coming years, this will continue unabated, with impact measured by numbers of eyeballs engaged in transitory exposure or mass distraction rather than deep connection, community development and risk” (2020, 7). This disconnect between the impact of arts and culture on individuals and communities, and what is measured, will continue without leadership from the sector that involves more diverse voices and perspectives. In undertaking this research for Australia Council for the Arts and Manatū Taonga Ministry for Culture & Heritage, New Zealand, the agreed aims of this research are expressed as: 1. Significantly advance the understanding and approaches to design, development and implementation of assessment frameworks to gauge the value and impact of arts engagement with a focus on redefining evaluative practices to determine wellbeing, public value and social inclusion resulting from arts engagement in Australia and Aotearoa New Zealand. 2. Develop comprehensive, contemporary, rigorous new language frameworks to account for a multiplicity of understandings related to the value and impact of arts and culture across diverse communities. 3. Conduct sector analysis around understandings of markers of impact and value of arts engagement to identify success factors for broad government, policy, professional practitioner and community engagement. This research develops innovative conceptual understandings that can be used to assess the value and impact of arts and cultural engagement. The discussion shows how interaction with arts and culture creates, supports and extends factors such as public value, wellbeing, and social inclusion. The intersection of previously published research, and interviews with key informants including artists, peak arts organisations, gallery or museum staff, community cultural development organisations, funders and researchers, illuminates the differing perceptions about public value. The report proffers opportunities to develop a new discourse about what the arts contribute, how the contribution can be described, and what opportunities exist to assist the arts sector to communicate outcomes of arts engagement in Australia and Aotearoa New Zealand.

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Cao, Shoufeng, Uwe Dulleck, Warwick Powell, Charles Turner-Morris, Valeri Natanelov, and Marcus Foth. BeefLedger blockchain-credentialed beef exports to China: Early consumer insights. Queensland University of Technology, May 2020. http://dx.doi.org/10.5204/rep.eprints.200267.

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The BeefLedger Export Smart Contracts project is a collaborative research study between BeefLedger Ltd and QUT co-funded by the Food Agility CRC. This project exists to deliver economic value to those involved in the production, export and consumption of Australian beef to China through: (1) reduced information asymmetry; (2) streamlined compliance processes, and; (3) developing and accessing new data-driven value drivers, through the deployment of decentralised ledger technologies and associated governance systems. This report presents early insights from a survey deployed to Chinese consumers in Nov/Dec 2019 exploring attitudes and preferences about blockchain-credentialed beef exports to China. Our results show that most local and foreign consumers were willing to pay more than the reference price for a BeefLedger branded Australian cut and packed Sirloin steak at the same weight. Although considered superior over Chinese processed Australian beef products, the Chinese market were sceptical that the beef they buy was really from Australia, expressing low trust in Australian label and traceability information. Despite lower trust, most survey respondents were willing to pay more for traceability supported Australian beef, potentially because including this information provided an additional sense of safety. Therefore, traceability information should be provided to consumers, as it can add a competitive advantage over products without traceability.

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Droogan, Julian, Lise Waldek, Brian Ballsun-Stanton, and Jade Hutchinson. Mapping a Social Media Ecosystem: Outlinking on Gab & Twitter Amongst the Australian Far-right Milieu. RESOLVE Network, September 2022. http://dx.doi.org/10.37805/remve2022.6.

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Attention to the internet and the online spaces in which violent extremists interact and spread content has increased over the past decades. More recently, that attention has shifted from understanding how groups like the self-proclaimed Islamic State use the internet to spread propaganda to understanding the broader internet environment and, specifically, far-right violent extremist activities within it. This focus on how far right violent extremist—including far-right racially and ethnically motivated violent extremists (REMVEs) within them—create, use, and exploit the online networks in which they exist to promote their hateful ideology and reach has largely focused on North America and Europe. However, in recent years, examinations of those online dynamics elsewhere, including in Australia, is increasing. Far right movements have been active in Australia for decades. While these movements are not necessarily extremist nor violent, understanding how violent far right extremists and REMVEs interact within or seek to exploit these broader communities is important in further understanding the tactics, reach, and impact of REMVEs in Australia. This is particularly important in the online space access to broader networks of individuals and ideas is increasingly expanding. Adding to a steadily expanding body of knowledge examining online activities and networks of both broader far right as well as violent extremist far right populations in Australia, this paper presents a data-driven examination of the online ecosystems in which identified Australian far-right violent extremists exist and interact,1 as mapped by user generated uniform resource locators (URL), or ‘links’, to internet locations gathered from two online social platforms—Twitter and Gab. This link-based analysis has been used in previous studies of online extremism to map the platforms and content shared in online spaces and provide further detail on the online ecosystems in which extremists interact. Data incorporating the links was automatically collected from Twitter and Gab posts from users existing within the online milieu in which those identified far right extremists were connected. The data was collected over three discrete one-month periods spanning 2019, the year in which an Australian far right violent extremist carried out the Christchurch attack. Networks of links expanding out from the Twitter and Gab accounts were mapped in two ways to explore the extent and nature of the online ecosystems in which these identified far right Australian violent extremists are connected, including: To map the extent and nature of these ecosystems (e.g., the extent to which other online platforms are used and connected to one another), the project mapped where the most highly engaged links connect out to (i.e., website domain names), and To explore the nature of content being spread within those ecosystems, what sorts of content is found at the end of the most highly engaged links. The most highly engaged hashtags from across this time are also presented for additional thematic analysis. The mapping of links illustrated the interconnectedness of a social media ecosystem consisting of multiple platforms that were identified as having different purposes and functions. Importantly, no links to explicitly violent or illegal activity were identified among the top-most highly engaged sites. The paper discusses the implications of the findings in light of this for future policy, practice, and research focused on understanding the online ecosystems in which identified REMVE actors are connected and the types of thematic content shared and additional implications in light of the types of non-violent content shared within them.

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Palmer, Charis. Australians are worried about govt corruption: here are three ways to help fix it. Monash University, December 2022. http://dx.doi.org/10.54377/2103-30ba.

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