Museums in Australia

Art History ◽  
2019 ◽  
Author(s):  
Christopher Marshall ◽  
Georgina S. Walker

The collecting of Australian natural history and Indigenous artifacts predates by centuries the introduction of formal museum infrastructure into colonial Australia. Whereas the earliest collections amassed by explorers, missionaries, and the like were shipped off to institutions abroad, significant museums were nonetheless soon inaugurated throughout the continent to act as repositories for the newly formed collections and to stand as emblems of the civilized values of the recently imported settler societies. The Australian Museum in Sydney (1827) was thus followed by the Museum of Victoria (1854), the Tasmanian Museum and Art Gallery (1863), and so on. The rapid evolution of Australian museums led next to their subdivision into the more specialized subcategories of art gallery, natural history museum, regional museum, and so on. The foundation of Melbourne’s National Gallery of Victoria (1861) thus narrowly preceded Sydney’s Art Gallery of New South Wales (1871), the Art Gallery of Ballarat (1884), and so on, with the concomitant shift in collecting priorities that this entails. Today’s ever-expanding network of Australian museums, galleries, art centers, and other related institutions embraces a yet more diverse and dynamic range of both newly formed and long-established organizations of all kinds and sizes ranging from the Museum of Tropical Queensland, Townsville, to the Perth Institute of Contemporary Arts, and all points in between. The literature on Australian museums begins during its earliest years with catalogues, collection handbooks. and other specialized publications released by fledgling museum professionals seeking to document the explosion of new knowledge concerning the recently settled continent. Next comes the initially small but continuously growing group of official museum histories, represented here by the detailed organizational studies of the National Gallery of Victoria and Australian Museum published by Leonard Cox in 1970 and Ronald Strahan in 1979. The field of Australian museum studies, by contrast, is a yet more recent phenomenon that has tended to follow the establishment of international methodologies, such as the rise of cultural studies and the new museology, as well as the inauguration of Australian university teaching and research programs in these areas more specifically from the 1970s onward (e.g., see the publications cited under General Overviews). Museum studies publications on Australian museums are currently to be found spread across a fully distributed global network ranging from international scholarship of Australian case studies (see Jagodzińska 2017, cited under Australian Art Museums: Regional, State, and National) to Australian publications seeking to situate Australian examples within a broader global perspective (Green and Gardner 2016).

Author(s):  
Erica L. Tucker

This chapter describes and discusses the major qualitative research methods used to study museums. These methods include analyses of visual displays and reconstructions; interviews with museum visitors, professionals, and stakeholders; as well as ethnographic fieldwork in museum settings. The chapter explores how these methods can be adapted to the study of exhibits, galleries, programs, and museums as knowledge-generating institutions from a range of case studies conducted by museum practitioners, anthropologists, historians, and other museum studies scholars at a variety of museums. Case studies are drawn from works that examine ethnographic, natural history, art and community museums as well as historic sites. Approaches to research design, data analyses, and writing up are also examined.


2018 ◽  
Vol 51 (2) ◽  
pp. 239-260 ◽  
Author(s):  
KIT HEINTZMAN

AbstractIn the late eighteenth century, the Ecole vétérinaire d'Alfort was renowned for its innovative veterinary education and for having one of the largest natural history and anatomy collections in France. Yet aside from a recent interest in the works of one particular anatomist, the school's history has been mostly ignored. I examine here the fame of the school in eighteenth-century travel literature, the historic connection between veterinary science and natural history, and the relationship between the school's hospital and its esteemed cabinet. Using the correspondence papers of veterinary administrators, state representatives and competing scientific institutions during the French Revolution, I argue that resource constraints and the management of anatomical and natural history specimens produced new disciplinary boundaries between natural history, veterinary medicine and human medicine, while reinforcing geographic divisions between the local and the foreign in the study of non-human animals. This paper reconstructs theAncien Régimereasoning that veterinary students would benefit from a global perspective on animality, and the Revolutionary government's rejection of that premise. Under republicanism, veterinary medicine became domestic.


2017 ◽  
Vol 65 (6) ◽  
pp. 379 ◽  
Author(s):  
Anna-Sheree Krige ◽  
Siew-May Loh ◽  
Charlotte L. Oskam

A nationwide survey was conducted for ticks (Ixodidae) removed from echidnas, Tachyglossus aculeatus (Shaw, 1792), that had been previously collected between 1928 and 2013, and archived within Australian national (Australian National Insect Collection, Australian Capital Territory) and state (Queensland, South Australia, Victoria, and Western Australia) natural history collections. A total of 850 ticks from 89 T. aculeatus hosts were morphologically identified to determine instar, sex and species. Seven larvae, 349 nymphs and 494 adults were identified; 235 were female and 259 were male. The most common tick species was Bothriocroton concolor (Neumann, 1899) (89.2%). In addition, ticks previously recorded from T. aculeatus were identified, including Amblyomma australiense Neumann, 1905 (1.8%), Amblyomma echidnae Roberts, 1953 (0.1%), Bothriocroton hydrosauri (Denny, 1843) (1.4%), Bothriocroton tachyglossi (Roberts, 1953) (1.5%) and Ixodes tasmani Neumann, 1899 (1.2%). For the first time, 22 Amblyomma fimbriatum Koch, 1844 (2.6%) and 19 Amblyomma triguttatum Koch, 1844 (2.2%) ticks were recorded from T. aculeatus. This is the first survey to utilise archived Australian tick collections for the purpose of acquiring new data on tick species that parasitise T. aculeatus.


Antiquity ◽  
2008 ◽  
Vol 82 (315) ◽  
pp. 208-211 ◽  
Author(s):  
Peter Jordan

2021 ◽  
Author(s):  
Christophe Jivraj

This thesis looks at the current state of digital reproductions for contemporary photographic artworks—how they are made, the purposes they serve, and how they are disseminated by cultural institutions. Using four selected photographic installation artworks by Canadian artist Michael Snow, this research examines how museums pursue reproductions of artworks that are installative by design and possess elements that are not easily reproducible like sound or the use of time. The reproduction process and terminology used at the Art Gallery of Ontario and the National Gallery of Canada (two institutions with significant collections of Snow’s artworks) are both examined, as well as how digital reproduction is currently discussed and theorized by museum professionals and digital specialists. Reproductions are used for outreach, research, advertising, and conservation, but between texts and institutions alike there lacks consistent terminologies and purposes for reproductions due to the dearth of research into this type of imagery.


2020 ◽  
Vol 31 (3) ◽  
pp. 253-273
Author(s):  
Lilian Moncrieff

Abstract This paper discusses corporate entanglement, impactfulness and responsibility in the Anthropocene, amidst events and conditions that ‘uncontain’ time. It takes its direction of travel from artist Brian Jungen’s ‘Cetology’ (2002), a whalebone sculpture made out of cut-up plastic garden chairs, which conjoins the times of earth and world history, as it hangs in the air of the art gallery, ‘as if’ exhibited in the natural history museum. The paper relates ‘Cetology’s’ engagement with natural history, time, and commodification to matters of corporate entanglement and responsibility within company law and governance. Problems with understanding the comparable imprint of large and multinational companies on matters, places, and communities are identified, after the domination of corporate legal frameworks over nature and the stability and perfection of economic incentives at law. The reading of this (critical-legal) situation is developed through theory and engagement with materialist and critical thinkers, who unite in their concern with distributed human–nature relations and the ‘concreteness’ that attends collisions in time, ruin and affect. Walter Benjamin and Theodor Adorno’s writings are central to this analysis, and strengthen the commentary on ‘natural history’ themes curated by Jungen. The paper contemplates how times’ uncontainment might invoke a change in expectation and method for the company law field, assigning contingency to the corporation and provoking a new mode of reflection about corporate entanglement and responsibility at law.


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