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Bibliografie tematiche / Art of Australia 1788-1941 (Exhibition) 1941-1942

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Letteratura scientifica selezionata sul tema "Art of Australia 1788-1941 (Exhibition) 1941-1942"

Autore: Grafiati

Pubblicato: 4 giugno 2021

Ultima modifica: 19 febbraio 2022

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Articoli di riviste sul tema "Art of Australia 1788-1941 (Exhibition) 1941-1942"

1

Jordan, Caroline. "Cultural Exchange in the Midst of Chaos: Theodore Sizer's Exhibition ‘Art of Australia 1788–1941’." Australian and New Zealand Journal of Art 13, no. 1 (January 2013): 24–49. http://dx.doi.org/10.1080/14434318.2013.11432641.

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2

Ryan, Louise. "Strategies of Cultural Inclusion: An investigation of the Carnegie Corporation of New York and the “Art of Australia 1788-1941” Exhibition." International Journal of the Inclusive Museum 1, no. 3 (2008): 65–74. http://dx.doi.org/10.18848/1835-2014/cgp/v01i03/58338.

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3

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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Abstract (sommario):

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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4

Allmark, Panizza. "Photography after the Incidents: We’re Not Afraid!" M/C Journal 11, no. 1 (June 1, 2008). http://dx.doi.org/10.5204/mcj.26.

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Abstract (sommario):

This article will look at the use of personal photographs that attempt to convey a sense of social activism as a reaction against global terrorism. Moreover, I argue that the photographs uploaded to the site “We’re Not Afraid”, which began after the London bombings in 2005, presents a forum to promote the pleasures of western cultural values as a defence against the anxiety of terror. What is compelling are the ways in which the Website promotes, seemingly, everyday modalities through what may be deemed as the domestic snapshot. Nevertheless, the aura from the context of these images operates

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5

Allmark, Panizza. "Photography after the Incidents." M/C Journal 10, no. 6 (April 1, 2008). http://dx.doi.org/10.5204/mcj.2719.

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Abstract (sommario):

   This article will look at the use of personal photographs that attempt to convey a sense of social activism as a reaction against global terrorism. Moreover, I argue that the photographs uploaded to the site “We’re Not Afraid”, which began after the London bombings in 2005, presents a forum to promote the pleasures of western cultural values as a defence against the anxiety of terror. What is compelling are the ways in which the Website promotes, seemingly, everyday modalities through what may be deemed as the domestic snapshot. Nevertheless, the aura from the context of t

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Tesi sul tema "Art of Australia 1788-1941 (Exhibition) 1941-1942"

1

Ryan, Louise Frances Art History &amp Art Education College of Fine Arts UNSW. "Forging diplomacy: a socio-cultural investigation of the Carnegie Corporation of New York and the "Art of Australia 1788-1941" exhibition." 2007. http://handle.unsw.edu.au/1959.4/43085.

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Abstract (sommario):

The study is an historical investigation exploring the impact of the Carnegie Corporation's philanthropic cultural and educational activities in North America and Australia during the 1940s. The author examines the Carnegie's formation of public values and perceptions using cultural and aesthetic material in order to transmit American ideological ideals with the goal of influencing Australian, Canadian and USA cultural norms. The principal case examined in the paper is the "Art of Australia 1788-1941" exhibition, which toured the USA and Canada during 1941-42. Scrutiny of the exhibition uncove

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