DOCSLIB.ORG

Monica Syrette

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Monica Syrette Introducing Percy Grainger Musician, designer, innovator Monica Syrette In June 2007 the Grainger Museum certain aspects of his unorthodox Megafun proposed an interactive received generous funding from the private life. The interactive would design that would echo the Hugh Williamson Foundation to seek to redress this imbalance by architectural footprint of the museum support the creation of a computer- weaving together the many strands of with six main screens corresponding based interactive research tool to Grainger’s life as composer, arranger, to the galleries in the art deco promote Percy Grainger and his pianist, folk-music collector, artist, building. The cabinet housing the multi-faceted life. The interactive designer, teacher, inventor and social interactive in the museum was would serve two purposes: provide an commentator. Rather than presenting designed by Deep in the Woods, a ‘add-on’ multimedia experience for Grainger’s life along strict Melbourne furniture design and visitors and scholars at the museum, chronological lines, the themes, custom building company, to and in its DVD format, cater to those narrative and content of the resemble a 1930s radiogram. It unable to visit in person, or preparing interactive would reflect those aspects incorporates timbers appropriate to to visit the museum (especially of his personality that defined him: that era—Tasmanian blackwood and secondary school students). his honesty and openness, a collecting Queensland walnut—into the design. To get the project under way, an and archiving nature, his curiosity and The radio theme is extended to the extensive briefing document was experimentalism, and his charisma navigation style with the user ‘tuning’ compiled. This was used in the tender and popularity. into the screens by turning a radio dial. process to assist in selecting a consultant for the technical development of the interactive. The award-winning multimedia company Megafun was selected to work with the University team on the project. Grainger Museum curator Astrid Krautschneider and I, with input from curatorial assistant Jennifer Hill, met with Megafun general manager Ros Porter in 2008 to begin the complex process of shaping an interactive biography. Initial discussions centred on the public perception of Percy Grainger and how his wide-ranging interests and activities had been almost eclipsed by the popularity of his best-known arrangement, Country gardens, and 44 University of Melbourne Collections, Issue 5, November 2009 Opposite: The first screen of the interactive Introducing Percy Grainger: Musician, designer, innovator allows the viewer to follow either a loose chronological narrative or select by thematic interest. Left: Percy Grainger, Sketch of Grainger Museum, 1938, ink on photographic paper, 8.5 x 14.2 cm. Grainger Museum Collection, University of Melbourne. The design of the interactive was based on the Museum’s floor plan. Below: Percy and Ella Grainger at the Grainger Museum, 1938, photographic print, 10.8 x 8.2 cm. Grainger Museum Collection, University of Melbourne. Selecting content was a silent, so we looked instead to his protracted process as hundreds of diaries, reviews, scrapbooks, programs, images were needed. Museum staff publicity photos, correspondence, combed through the archive and advertisements and audio recordings storage site for appropriate objects to to tell the story. accompany the milestones of Whilst the selection of objects was Grainger’s life and illustrate the still in progress it was necessary to chosen themes. This exhaustive begin photographing them. Boxes process yielded both fresh containing everything from fragile perspectives into the collection and folksong collecting maps to long exciting discoveries of significant items plaits of hair regularly made their way that had not previously been on to photographer Lee McRae’s door. display. An array of objects was also chosen to There were also challenges in the be viewable on screen in three selection process. For example, there dimensions. To achieve this, Megafun was much discussion amongst the director Keith Tucker organised for team about how best to present selected objects to be photographed Grainger’s theories, which were wide- on a turntable 36 times in ten-degree ranging and often interconnected. increments, a relatively simple Although he could contradict himself approach, but one that produced at times, Grainger displayed a lifelong and I found ourselves labouring over remarkable results. commitment to his theories and fine- the editing, re-checking facts and The digital image archive tuned them over many years in tweaking sentences. generated by the project has boosted diaries, notebooks, correspondence, Another challenge we faced was the existing Grainger Museum digital lectures and essays. Whilst there was how to capture the intangible element image holdings significantly. This will a wealth of material to choose from, of Grainger’s career—his performances? assist staff in future when providing there were space limitations imposed We wished to illustrate how devoted reference services both in Australia by the interactive design. Thus in and enthusiastic Grainger’s audience and overseas, and lessen the handling some instances a complex theory had was, as this had such a strong impact of fragile objects by staff and to be represented by a single page. In on his life. He was highly ambivalent researchers, thus assisting in their these cases the text accompanying the about his popularity, expressing preservation. image needed to be crafted with great bitterness about lost creative The audio used in the interactive care. Text revisions were a major opportunities whilst pursuing contributes to an understanding of aspect of the project for the entire commercial success on the touring Grainger by building up a partial Grainger Museum team and even in circuit. The collection holds only one sound profile of his life, from music the final stages curator Brian Allison film of Grainger playing and it is favoured by his parents to works that University of Melbourne Collections, Issue 5, November 2009 45 Right: The interactive cabinet, designed to resemble a 1930s radiogram. It will be housed in the Grainger Museum, reopening in 2010. Below: Trustees for the Hugh Williamson Foundation at the presentation of the completed interactive. From left to right: Denis Tricks, Martin Carlson, Harry Carrodus and David Ward. Photography by Fiona Willan. influenced him, folksongs he collected and his own compositions and experiments. Many factors had to be taken into consideration when selecting the audio component, including the quality of the recordings, file size and copyright. A project of this magnitude demands a comprehensive and efficient tracking system. Ros Porter devised a numbering system for the interactive layout that proved indispensable, whilst I created a colour-coded spreadsheet to list the objects; this ended up stretching to 63 pages. Project coordinator Georgina Binns (Music, Visual and Performing Arts Librarian) ensured the project ran smoothly and to schedule by liaising between Grainger Museum staff, Megafun and the Hugh creating the interactive has fed work and the depth and richness of Williamson Foundation. directly into exhibition planning for his achievements. Once the interactive was the newly refurbished building, due to completed Brian Allison and I gave it re-open in 2010. The DVD-ROM a thorough road testing. We have will be available free of charge to For more information about Introducing Percy Grainger: Musician, designer, innovator please endeavoured to achieve the highest music departments in schools contact the Grainger Museum at possible level of accuracy and throughout Victoria, and will also be [email protected]. attention to detail. We went through available for purchase. The stand- each screen minutely, making note of alone interactive will be located in the all necessary changes, as Keith Tucker Grainger Museum, with the capacity Monica Syrette is Assistant Curator at the can wearily attest. to act as a guide through both the Grainger Museum, University of Melbourne. She holds a Bachelor of Arts from Canberra Institute The project has been both exhibition space and Grainger’s life. of the Arts and a Post Graduate Diploma in challenging and rewarding in equal Introducing Percy Grainger: Musician, animation and interactive media from RMIT. measure. Everyone on the team is designer, innovator captures the Monica was Archivist at Arts Project Australia from 2004 to 2008 and is currently undertaking a delighted with the final product. For intense curiosity and creative energy PhD in the history and practices of art studios for Grainger Museum staff the process of that Grainger brought to his life and people with intellectual disabilities. 46 University of Melbourne Collections, Issue 5, November 2009.
Load more

Recommended publications
  • News from the Collections
    News from the collections Grainger Museum reopening Melbourne Conservatorium of The Grainger Museum officially Music; Dr Peter Tregear of Monash re-opened on Friday 15 October, University; and Brian Allison and following a seven-year closure. Astrid Krautschneider, Curators of Over the past few years substantial the Grainger Museum. conservation works were carried out The Grainger Museum is located on the heritage-registered building on Royal Parade, near Gate 13, under the supervision of conservation Parkville Campus. The opening architects Lovell Chen, along with hours are Tuesday to Friday 1pm to improvements to the facilities for 4.30pm and Sunday 1pm to 4.30pm. visitors, collections and staff. The new Closed Monday and Saturday, public suite of exhibitions, curated by the holidays and Christmas through Grainger Museum staff and designed January. Percy’s Café is open 8am to by Lucy Bannyan of Bannyan Wood 5pm, Monday to Friday. For further Design, explore Grainger’s life, times information or to join the mailing list and work. Funding was provided see www.grainger.unimelb.edu.au. by the University, the University Library, the University Annual MacPherson, Ormond Professor of G.W.L. Marshall-Hall: Appeal, bequests and donors. The Music and Director of the Melbourne A symposium guest speaker at the launch was Conservatorium of Music. Professor The collections of the Grainger Professor Malcolm Gillies, Vice- Gillies’ keynote paper ‘Grainger Museum provide an invaluable Chancellor of London Metropolitan 50 years on’ explored Percy Grainger’s research resource that extend far University and a leading Grainger current place in both the world of beyond the life and music of Percy scholar.
    [Show full text]
  • 2018 Annual Report
    2018 annual report 1 AMaGA Victoria Contents About Australian Museums and Galleries Association Victoria About the Australian Museums and Galleries Association Victoria ......................................................2 Mission: Enabling museums and their Treasurer’s Report ..................................................................................................................................3 President’s Report ..................................................................................................................................4 people to develop their capacity to inspire Executive Director’s Report ................................................................................................................ 5-6 and engage their communities. Management ....................................................................................................................................... 7-8 Awards, Forum and Events .............................................................................................................. 9-10 Statement of Purpose Membership Forum in Melbourne. Both are curated to Communications ...................................................................................................................................11 Australian Museums and Galleries AMaGA Victoria represents approximately appeal to a broad audience, from large Association Victoria, provides professional one third of AMaGA’s total membership. It State institutions to small volunteer-run INSITE ...................................................................................................................................................12
    [Show full text]
  • The Grainger Museum in Its Museological and Historical Contexts
    THE GRAINGER MUSEUM IN ITS MUSEOLOGICAL AND HISTORICAL CONTEXTS Belinda Jane Nemec Submitted in total fulfilment of the requirements of the degree of Doctor of Philosophy February 2006 The Australian Centre The University of Melbourne Produced on archival quality paper ABSTRACT This thesis examines the Grainger Museum at the University of Melbourne in the context of the history of museums, particularly those in Europe, the United States and Australia, during the lifetime of its creator, Percy Aldridge Grainger (1882–1961). Drawing on the collection of the Grainger Museum itself, and on both primary and secondary sources relating to museum development in the late nineteenth and first half of the twentieth centuries, the thesis demonstrates that the Grainger Museum reflects many of the concerns of museums of Grainger’s day, especially of the years prior to his relocation to the United States in 1914. Many of those concerns were products of the nationalistic endeavours arising from political upheavals and redefinitions in nineteenth-century Europe, the imperialism which reached its zenith by the First World War, and the racialist beliefs, hierarchies and anxieties accompanying that imperialism. In particular, Grainger’s lifelong concern with racial identity manifested in hierarchical and evolutionary museum interpretations typical of his earlier years. I explore the paradox of Grainger’s admiration for the musical and material culture of the racial ‘other’ and his racially supremacist views, and the way he presented these two apparently conflicting ideologies in his Museum. In elucidating Grainger’s motives for establishing a museum, I argue that Grainger was raised in a social and cultural milieu in which collecting, classifying and displaying cultural material was a popular practice.
    [Show full text]
  • Behind the Scenes
    ©Lonely Planet Publications Pty Ltd 350 Behind the Scenes SEND US YOUR FEEDBACK We love to hear from travellers – your comments keep us on our toes and help make our books better. Our well-travelled team reads every word on what you loved or loathed about this book. Although we cannot reply individually to postal submissions, we always guarantee that your feedback goes straight to the appropriate authors, in time for the next edition. Each person who sends us information is thanked in the next edition – the most useful submissions are rewarded with a selection of digital PDF chapters. Visit lonelyplanet.com/contact to submit your updates and suggestions or to ask for help. Our award-winning website also features inspirational travel stories, news and discussions. Note: We may edit, reproduce and incorporate your comments in Lonely Planet products such as guidebooks, websites and digital products, so let us know if you don’t want your comments reproduced or your name acknowledged. For a copy of our privacy policy visit lonelyplanet.com/ privacy. AUTHOR THANKS ACKNOWLEDGMENTS Climate map data adapted from Peel MC, Anthony Ham Finlayson BL & McMahon TA (2007) ‘Updated Thanks to Maryanne Netto for sending me World Map of the Köppen-Geiger Climate to such wonderful places – your legacy will Classification’, Hydrology and Earth System endure. To co-authors Trent and Kate who Sciences, 11, 163344. brought such excellence to the book. To David Andrew for so many wise wildlife tips. And to Cover photograph: Loch Ard Gorge, Port every person whom I met along the road – Campbell National Park, David South/Alamy.
    [Show full text]
  • Duo-Art Piano, and to See His Collection Across the Street from a Park
    FRONT ROW (L-R): Mel Septon, Kathy Stone, Richard VanMetre, Margaret Bisberg, Dan Stotte, ROW 4 (L-R): Robert Dumas, Mike Barnhart, Brian Meeder, Harold Ball, Miriam Hanscom, Allen Dreyfuss, Val Saari, Kay Overfield, Liz Barnhart, Kathryn Dumas, Shirley Nix, Beverly Ball, Jody Trittipo, Lyn Mercy, Jerry Golmanavich, Weslay Neff, Dennis Eiland, Jackie Dupon, Carol Veome, Margery Sanford, Charlene Torer, Jan Ham Hal Estry, John Washburn, Barbara Washburn, Elsa Pekarek, Joe Pekarek, Betty Canada, Marilyn Udell, Alice Scheelar, Rochelle Mercer ROW 2 (L-R): Leroy Schumacher, Betty Schumacher, Bill Blair, Jean Hurley, Marilyn Juckett, Ern Fisk, Janet Tallent, Christy Counterman, Donna Counterman, Donna Estry, Row 5 (L-R): John Ham, Richard Reutlinger, Bill Dean, Don Ellison, Jay Albert, Alvin Wulfekuhl, Anita Johnson, Mary Pollock, Joan Haughawout, Mary Ellen Connor, Florie Hirsch, Judy Wulfekuhl, George Cunningham, Peter Tallent, John Mercy, Sharyn Cunningham, Dawn Pumphrey, Fran Willyard, Selmer Nielsen, Earl Scheelar Howard Wyman, Cliff Juckett, Beverly Brabb, Tony Austin, Jeff Brabb, Dick Leis, Julian Dyer, Dottie McMenamy, Mike Walter, Dixie Leis, Ralph Saari, Holly Walter, Roy Beltz, ROW 3 (L-R): Bill Baab, Paul Dietz, Dorothy Olds, Hedy Dietz, Bob Hill, Paddy Austin, Mike Boyd, Frank Nix, Steve Rattle, Dick Merchant, Mary Merchant, Bob Taylor, Joe Orens, Betty Golmanavich, Sherri Neff, Cindy Eiland, Galen Bird, Linda Bird, Judy Chisnell, Rollie Chisnell, Dave Reichert, Ron Conner, Ervin Canada, Terry Haughawout, Bill Pumphrey, Raymond Palmer, Maury Willyard, Norb Torer Howard Sanford, Norb Overfield, Herb Mercer. Chlca_o's Finest Product .. ---~~ The Schulz Electric Expression Piano Carefully made of especially selected materials, is of the utmost importance in producing an appreciation of real piano music.
    [Show full text]
  • Collections6.Pdf
    University of Melbourne Issue 6, June 2010 COLLECTIONS University of Melbourne Collections Issue 6, June 2010 University of Melbourne Collections succeeds University of Melbourne Library Journal, published from 1993 to December 2005. University of Melbourne Collections is produced by the Cultural Collections Group and the Publications Team, University of Melbourne Library. Editor: Dr Belinda Nemec Assistant editor: Stephanie Jaehrling Design concept: 3 Deep Design Design implementation: Jacqueline Barnett Advisory committee: Shane Cahill, Dr Alison Inglis, Robyn Krause-Hale, Jock Murphy, Associate Professor Robyn Sloggett Published by the University Library University of Melbourne Victoria 3010 Australia Telephone (03) 8344 0269 Email [email protected] © The University of Melbourne 2010 ISSN 1835-6028 (Print) ISSN 1836-0408 (Online) All material appearing in this publication is copyright and cannot be reproduced without the written permission of the publisher and the relevant author. The views expressed herein are those of individuals and not necessarily those of the University of Melbourne. Note to contributors: Contributions relating to one or more of the cultural collections of the University of Melbourne are welcome. Please contact the editor, Belinda Nemec, on (03) 8344 0269 or [email protected]. For more information on the cultural collections see www.unimelb.edu.au/culturalcollections. Additional copies of University of Melbourne Collections are available for $20 plus postage and handling. Please contact the editor. Subscription to University of Melbourne Collections is one of the many benefits of membership of the Friends of the Baillieu Library, Grainger Museum Members and Members of the Ian Potter Museum of Art. See www.unimelb.edu.au/culturalcollections/ links/friends.html Front cover: Illustration from Violet Teague and Geraldine Rede, Night fall in the ti-tree (illustrated book, designed, illustrated, printed and hand-bound by the artists; colour woodcut; 32 pages, printed image 24.4 x 17.4 cm), London: Elkin Matthews, 1906.
    [Show full text]
  • Roger Quilter
    ROGER QUILTER 1877-1953 HIS LIFE, TIMES AND MUSIC by VALERIE GAIL LANGFIELD A thesis submitted to The University of Birmingham for the degree of DOCTOR OF PHILOSOPHY Department of Music School of Humanities The University of Birmingham February 2004 University of Birmingham Research Archive e-theses repository This unpublished thesis/dissertation is copyright of the author and/or third parties. The intellectual property rights of the author or third parties in respect of this work are as defined by The Copyright Designs and Patents Act 1988 or as modified by any successor legislation. Any use made of information contained in this thesis/dissertation must be in accordance with that legislation and must be properly acknowledged. Further distribution or reproduction in any format is prohibited without the permission of the copyright holder. ABSTRACT Roger Quilter is best known for his elegant and refined songs, which are rooted in late Victorian parlour-song, and are staples of the English artsong repertoire. This thesis has two aims: to explore his output beyond the canon of about twenty-five songs which overshadows the rest of his work; and to counter an often disparaging view of his music, arising from his refusal to work in large-scale forms, the polished assurance of his work, and his education other than in an English musical establishment. These aims are achieved by presenting biographical material, which places him in his social and musical context as a wealthy, upper-class, Edwardian gentleman composer, followed by an examination of his music. Various aspects of his solo and partsong œuvre are considered; his incidental music for the play Where the Rainbow Ends and its contribution to the play’s West End success are examined fully; a chapter on his light opera sheds light on his collaborative working practices, and traces the development of the several versions of the work; and his piano, instrumental and orchestral works are discussed within their function as light music.
    [Show full text]
  • Sale Swing Bridge
    1 ENGINEERS AUSTRALIA ENGINEERING HERITAGE VICTORIA HERITAGE RECOGNITION PROGRAM Nomination Document for the SALE SWING BRIDGE October 2009 2 TABLE OF CONTENTS Page Heritage Award Nomination Form 4 Definition of a Movable Bridges 7 Heritage Assessment 8 1 Basic Data 8 1.1 Item Name ` 8 1.2 Other/Former Name 8 1.3 Location 8 1.4 Address 8 1.5 Suburb/Nearest Town 8 1.6 State 8 1.7 Local Government Area 8 1.8 Owner 8 1.9 Current Use 8 1.10 Former use 8 1.11 Designer 8 1.12 Maker/Builder 8 1.13 Year Started 8 1.14 Year completed 9 1.15 Physical Description 9 1.16 Physical Condition 9 1.17 Modifications and Dates 9 1.18 Historical Notes 9 1.19 Heritage Listings 12 2 Assessment of Significance 13 2.1 Historical Significance 13 2.2 Historic Individuals or Associations 13 2.2.1 John Grainger – Architect 13 2.2.2 Peter Platt – Builder 16 2.3 Creative of Technical Achievement 17 2.4 Research Potential 17 3 2.5 Social 18 2.6 Rarity 18 2.7 Representativeness 19 2.8 Integrity/Intactness 19 2.9 Statement of Significance 20 2.10 Area of Significance 21 3 Marking and Interpretation 22 4 References 25 Attachment 1 26 Maps of the Sale Swing Bridge Attachment 2 27 Historic Drawings of Sale Swing Bridge Attachment 3 Essay on John Grainger 28 Attachment 4 Photographs of Sale Swing Bridge 33 4 Heritage Award Nomination Form The Administrator Engineering Heritage Australia Engineers Australia Engineering House 11 National Circuit BARTON ACT 2600 Name of work: SALE SWING BRIDGE Previously known as the La Trobe Bridge.
    [Show full text]
  • An Introduction to Percy Grainger
    CHANDOS :: intro CHAN 2029 an introduction to Percy Grainger :: 17 CCHANHAN 22029029 BBook.inddook.indd 116-176-17 330/7/060/7/06 113:26:393:26:39 Percy Grainger (1882–1961) 1 Country Gardens [BFMS Unnum.] 2:21 Version A Edited by Dana Paul Perna 2 Irish Tune from County Derry* 4:23 Classical music is inaccessible and diffi cult. It’s surprising how many people still believe 3 Green Bushes [BFMS No. 12] 8:30 the above statement to be true, so this new series from Chandos is not only welcome, it’s also very † necessary. 4 Early One Morning [BFMS Unnum.] 3:03 I was lucky enough to stumble upon the Stephen Varcoe baritone wonderful world of the classics when I was a David Archer trumpet • Andrew Watkinson violin child, and I’ve often contemplated how much poorer my life would have been had I not done 5 There Was a Pig Went Out to Dig so. As you have taken the fi rst step by buying this [BFMS No. 18]‡ 2:03 CD, I guarantee that you will share the delights of this epic journey of discovery. Each CD in the 6 Shepherd’s Hey [BFMS No. 16] 2:06 series features the orchestral music of a specifi c composer, with a selection of his ‘greatest hits’ 7 Shallow Brown [SCS No. 3]†‡ 6:12 CHANDOS played by top quality performers. It will give you Stephen Varcoe baritone a good fl avour of the composer’s style, but you won’t fi nd any nasty surprises – all the music is Lincolnshire Posy [BFMS No.
    [Show full text]
  • Types of Institutional Structures
    Last Updated on 23 December 2008 PART A. STRUCTURES AND GOVERNANCE 1. INSTITUTIONAL STRUCTURES 1.1 Introduction There are hundreds of collection-related organisations in Australia. They range from organisations established as statutory bodies with budgets of millions of dollars, to service and professional bodies such as Museums Australia, to small community-based museums and informal clubs with no financial resources at all. They vary in size and purpose. Some are primarily collecting, educational or research institutions, others are service organisations; some are membership based, others are not. Some receive funding from governments, some are supported by funds from their members, and some are supported by sponsorships and donations. Indeed irrespective of their size or their structure, most collecting organisations live off a cocktail of funding types. Even institutions that are primarily government funded must earn considerable amounts of additional funding to support their activities.1 The need for a new organisation or the continued existence of an existing one should never be taken for granted. Every organisation should be thought of as a living creature: it comes into being, grows, learns, matures, develops diverse interests, can be trained or ill trained, may achieve its potential or may be a dreadful disappointment. Some organisations flourish into old age; others should either be put to sleep or allowed, gracefully, to die. This chapter will describe the basic types of structures and their characteristics. Some legal structures suit certain purposes better than others. The structure adopted must complement the objectives of the organisation and provide for the needs and expectations of its members.
    [Show full text]
  • Thomas Carl Slattery-The Wind Music of Percy Aldridge Grainger Ann Arbor: University Microfilms (UM Order No
    Thomas Carl Slattery-The Wind Music of Percy Aldridge Grainger Ann Arbor: University Microfilms (UM order no. 67-9104, 1967. 265 pp., The University ofIowa diss.) David S. Josephson [Ed. Note,' This is the second in a series of writings conceived by Prof. Josephson as an essay in bibliography, seeking to provide the foundation for a thorough and broadly-based study of the life and music of Percy Grainger. The first essay, "Percy Grainger: Country Gardens and Other Curses," can be found in Current Musicology 15 (1973): 56-63.] Percy Grainger composed and arranged music for winds from virtually the beginning to the end of his creative life. The fruits of these labors are the subject, at first glance, of the dissertation under review. In fact, however, Thomas Slattery's thesis is more than a study of the wind music: in both scope and length it is the first major attempt to deal with Grainger's life and work. The wind music provides an apt vehicle, for its remarkable range of idiom, genre, and intention allows us to explore the gamut of Grainger's productive life from almost every angle; the finest exemplars of this repertory reveal most immediately his striking ear and fastidious craftsmanship. In- deed, Grainger's largest essay for winds, Lincolnshire Posy, is a handbook of band orchestration and arguably the most idiomatic and sensitive composi- tion ever written for large wind ensemble. The table of contents reveals both the scale of Dr. Slattery's investigation and its cogent organization. The six chapters include an extended biblio- graphical summary; music for wind band; the chamber music for, with, and arranged for winds; Grainger's wind scoring; his innovations; and a sum- mary of sources.
    [Show full text]
  • 2007 Exhibitions Review Highlights of Exhibitions from the University’S Collections
    2007 exhibitions review Highlights of exhibitions from the University’s collections Professor Emeritus John Bowman, former Professor of Middle Eastern Studies. Illuminations was curated by Dr Andrew Jamieson, R.E. Ross Trust Curator and Lecturer in the School of Classics and Archaeology. From Canton Club to Melbourne Cricket Club: The architecture of Arthur Purnell Leigh Scott Gallery, Baillieu Library 4 October 2006 to 30 January 2007 Creation tracks and trade This exhibition, based largely on winds: Groote Eylandt bark Arthur Purnell’s papers now located paintings from the University at the University of Melbourne of Melbourne Art Collection Illuminations: Middle Archives, was curated by Dr Derham Ian Potter Museum of Art Eastern manuscripts Groves, Senior Lecturer in 23 September 2006 to 21 January 2007 Architecture in the Faculty of Ian Potter Museum of Art 2 September 2006 to 26 March 2007 Architecture, Building and Planning, Curated by Joanna Bosse, Assistant and Brian Allison, Exhibitions Curator at the Potter, this exhibition This display of 50 manuscripts, dating Curator, Cultural Collections. Dr showcased 32 of a group of 36 from the 15th to the 19th centuries Groves had undertaken significant paintings dating from the 1940s and and in languages including Arabic, research on the life and career of the collected by Frederick Harold Grey, Persian, Ethiopic, Syriac, Turkish, Geelong-born Arthur William who donated them to Dr Leonhard Hebrew, Urdu, Sanskrit, Pushtu, Purnell (1878–1964), particularly his Adam at the University of Prakrit and Mongol, was drawn from work in southern China around the Melbourne between 1946 and 1950. more than 180 examples held in the turn of the 20th century.
    [Show full text]