Suchergebnisse

The New South Wales Migration Heritage Centre was established in 1998. Since 2003 its physical presence has been located within Sydney's Powerhouse Museum and it has had the strategic brief to record the memories of ageing migrants before their stories are lost. The Centre is, however, a museum without a collection; a heritage authority without heritage sites; a cultural institution whose main presence is in cyberspace. Among its high profile projects is one entitled Objects through time and another Belongings. Both focus on the ways in which objects can convey aspects of the migration experience. Belongings, the focus of this article, presents the remembered experiences of people who migrated to Australia after World War II, and seeks to highlight significant features of their experiences through asking them to share their memories and to nominate and talk about significant objects. As a project it grew out of movable heritage policy work within state government agencies, and its initiators – John Petersen, Kylie Winkworth and Meredith Walker – were central players in this development. It was also inspired by the National Quilt Register of the Pioneer Women's Hut at Tumbarumba. With its object-centred approach and accompanying edited interview transcripts, Belongings provides a focus for exploring the messages and emphases that emerge when oral history interviews concerned with migration have the specific brief to ask about material culture and its significance. Belongings also enables an exploration of the layering of those messages that emerges when object captions are located back in the context of the oral history interviews from which they were extracted. As a virtual exhibition, Belongings also provides the opportunity to consider the challenges for museums (virtual and real) when they need to condense the richness of migrant oral histories and life stories to captioned objects that can be put on display.

APPROVED ; This research project presents a methodological and theoretical framework for conducting research on the knowledge-making capacity of museum displays in Ireland. As active agents in the production of knowledge, museum displays have been increasingly accepted as documents of significance to the evolution of ideas. In order to investigate how exhibitions create knowledge, a detailed outline of the key attributes involved in creating meaning in exhibitions will be offered. Building on research in exhibition analysis and the history of display and representation in Ireland, this research will emphasise how there is a complex network of factors that warrant consideration when assessing the epistemological function of museums in Ireland. To achieve its aims and objectives, this research project will develop a number of case studies using exhibitions as the primary site or unit of exchange in the political economy of art and art history for the production and dissemination of knowledge by adopting Du Gay et al 'Circuit of Culture' model of communication as the analytical vehicle presenting exhibitions as textual' entities in order to clarify how exhibited culture, what museums put on display, and exhibition culture, the ideas, values, and symbols that permeate and shape the practice of exhibiting, interact. Based on these principles, the aim of this research project is to formulate terms and questions that can be applied both to exhibited culture and to exhibition culture such as: how and why is it that museums select and arrange artefacts, shape knowledge, and construct a view? What is this view and how does it articulate with wider social perspectives? How do museums produce values? How does this change? And how do active audiences make meaning from what they experience in museums? The date range will offer the opportunity of contextualising these questions in relation to fundamental changes in the creation of cultural policy and cultural practice in Ireland from the influence of European cultural strategies as a result of Ireland joining the European Union and the introduction of the Arts Act in Ireland in 1973. This period also marked the beginning of the widespread re-examination of the role of museums within society during the 1970s, to the challenges presented by the globalist aspect of art and the cultural collisions in Irish life during the 1990s: between the local and global, between traditional and modern, between Catholic and secular, and between rural and urban. This research project intends to position itself at the intersection of theory and practices, also offering a much-needed critical attention and analysis to a subject that has been largely overlooked from an Irish perspective as well as posing a model of analysis where research results could be transferred and contextualised as part of the variety of relationships between the cultural industries and the creation of cultural identity.

The Great Exhibition of 1851 was the outstanding public event of the Victorian era. Housed in Joseph Paxton's Crystal Palace, it presented a vast array of objects, technologies and works of art from around the world. The sources in this edition provide a depth of context for study into the Exhibition.

Abstract
'Club To Catwalk', Victoria & Albert Museum, London, 10 July 2013–16 February 2014
'California Design 1930–1963: Living in a Modern Way', Queensland Art Gallery/Gallery of Modern Art (QAGOMA), Brisbane, 2 November 2013–9 February 2014
'Exposed: A History of Lingerie', The Fashion and Textile History Gallery, Museum at FIT, New York City, 3 June–15 November 2014

This book recounts the history of documenta in many stories, pictures, graphics, statistics and artist lists. At its forefront are the cultural orientation, artistic connections and essential facts on understanding documenta. Klaus Siebenhaar provides a compact and profound overview of the most important temporary exhibition of contemporary art worldwide. The history of documenta reflects more than just the crucial lines of development and tendencies of 20th century art. documenta covers all important stylistic aspects, such as aesthetic innovations, and it documents the relentless expansion of the art term. More than 60 years of documenta attest the social, political, cultural and everyday spaces that modern art has created over the last 100 years

Abstract
LITTLE BLACK DRESS: FROM MOURNING TO NIGHT, MISSOURI HISTORY MUSEUM, ST. LOUIS, MO, USA, 2 APRIL 2016–5 SEPTEMBER 2016
ALEXANDER MCQUEEN: SAVAGE BEAUTY, LONDON, 14 MARCH–2 AUGUST 2015