More from this Issue
Abel Tasman at Dunedin
Looks at the exhibition 'Terra Australis Incognita' at the Dunedin Public Art Gallery in New Zealand, to celebrate the 350th anniversary of Abel Tasman's discovery.
A New Museum for Victoria
In the first project of its kind, private investors will provide half the money needed to build the Museum of Victoria at a new site on the Yarra River.
Testing the Meaning of Heritage
Exhibition review The Heritage of Namatjira
Tandanya National Aboriginal Cultural Institute
Adelaide South Australia
November - December 1991
Curated by Angela Tidmarsh and JVS Megaw on behalf of the Flinders University of South Australia
Catalogue edited by Ruth Megaw.
Te Papa Tongarewa: Museum of New Zealand
Looks at recent issues for the National Art Gallery of New Zealand from the boardroom dismissals and judgments as well as the operations.
Spirit of Enquiry Refreshing
Exhibition review Moet and Chandon Touring Exhibition
Tasmanian Museum and Art Gallery Hobart
12 February - 22 March 1992 and touring
Aboriginal People and Museums: Restricting Access to Increase It
The South Australian Museum has the world's largest and most comprehensive collection of Australian Aboriginal material culture. It also has a vast archive of information about that material and about other aspects of Aboriginal life in the form of photographs, films, audio tapes, diaries and other records.
Local Conditions: New Zealand Art
Headlands: Thinking through New Zealand Art. Exhibition for the Museum of Contemporary Art, Sydney from 31st March 1992. Article by the co-curator Robert Leonard.
Some Thoughts on Museum Futures
The quintessential purpose of Museums is to encourage and instil the joy of intellectual and aesthetic discovery. Abstracted partly from a public lecture entitled 'Ideas -Heresies even - for Museum Futures' given in Perth for the Western Australian Government Department of the Arts Task Force on Museums in August 1991.
A Virtue of Necessity: Deaccessioning Without Guilt
De-accessioning is too often characterised as an ill-wind, blowing through the vast and mostly undisturbed reaches of our cultural store-houses capriciously violating the integrity of our collections.
Designing for Interesting People
Andrew Andersons is, and has been, engaged to contribute to many of Australia's leading art museums as well as to other public buildings and spaces. His work might be described as adaptive; accommodating to the style and typology of the major buildings on which he has worked as well as responding to the varied views of curators with whom he has co-operated closely when designing galleries.