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CLUNES Excel Print Copy.Xlsx
Contents ART - FROM AROUND THE WORLD......................................................................................................................................................................... 2 AUSTRALIAN HISTORY .............................................................................................................................................................................................. 5 CINEMA .......................................................................................................................................................................................................................... 13 INDIGENOUS .................................................................................................................................................................................................................. 16 MILITARY ....................................................................................................................................................................................................................... 17 OTHER STATES - NSW, TAS, QLD, SA, WA, & NT ............................................................................................................................................... 21 AUSTRALIAN RAILWAYS ............................................................................................................................................................................................... 25 SKETCH BOOKS ............................................................................................................................................................................................................ -
Australian Museums and Galleries Association Annual Report 2020
Australian Museums and Galleries Association Annual Report 2020 1 Australian Museums and Galleries Association operates with the generous support of Museums Victoria, Western Australian Museum, ICOM Australia, and Australian Library and Information Association, as well as individual members who have made generous donations. Australian Museums and Galleries Association PO Box 24 DEAKIN WEST ACT 2600 Telephone 02 6230 0346 ABN 83 048 139 955 Auditor Accountability PO Box 776 Mitchell ACT 2911 Telephone 0407 407 776 ABN 65 119 369 827 All images in this Annual Report 2020 have been sourced and reproduced with the permission of the owner/s. If you have any questions about the images reproduced herein, please contact the National Office on 02 6230 0346. AMaGA acknowledges and pays respect to the past, present and future Traditional Custodians and Elders of this nation and the continuation of cultural, spiritual and educational practices of Aboriginal and Torres Strait Islander peoples. 2 Contents National President’s Introduction 4 National Director’s Introduction 6 National Council 2019-2021 8 About the Association 9 Indigenous Roadmap 13 Advocacy 13 Membership 14 Branches & Chapters 16 National Networks 20 National Webinar Program 21 Partnerships 22 National Conference 23 Awards 24 Communications 25 2020 Operating Results 26 Organisational Members 27 3 National President’s Introduction In last year’s introduction to the AMaGA Annual membership of First Peoples from across Australia Report I wrote, ‘In literally the dying moments who are engaged in assisting AMaGA to move of 2019, we were not to know it, but a virus was forward in sensitive and appropriate ways. -
Annual Report Contents About Museums Australia Inc
Museums Australia (Victoria) Melbourne Museum Carlton Gardens, Carlton PO Box 385 Carlton South, Victoria 3053 (03) 8341 7344 Regional Freecall 1800 680 082 www.mavic.asn.au 08 annual report Contents About Museums Australia Inc. (Victoria) About Museums Australia Inc. (Victoria) .................................................................................................. 2 Mission Enabling museums and their Training and Professional Development President’s Report .................................................................................................................................... 3 services, including phone and print-based people to develop their capacity to inspire advice, referrals, workshops and seminars. Treasurer’s Report .................................................................................................................................... 4 Membership and Networking Executive Director’s Report ...................................................................................................................... 5 and engage their communities. to proactively and reactively identify initiatives for the benefit of existing and Management ............................................................................................................................................. 7 potential members and links with the wider museum sector. The weekly Training & Professional Development and Member Events ................................................................... 9 Statement of Purpose MA (Vic) represents -
Victorian Historical Journal
VICTORIAN HISTORICAL JOURNAL VOLUME 90, NUMBER 2, DECEMBER 2019 ROYAL HISTORICAL SOCIETY OF VICTORIA VICTORIAN HISTORICAL JOURNAL ROYAL HISTORICAL SOCIETY OF VICTORIA The Victorian Historical Journal has been published continuously by the Royal Historical Society of Victoria since 1911. It is a double-blind refereed journal issuing original and previously unpublished scholarly articles on Victorian history, or occasionally on Australian history where it illuminates Victorian history. It is published twice yearly by the Publications Committee; overseen by an Editorial Board; and indexed by Scopus and the Web of Science. It is available in digital and hard copy. https://www.historyvictoria.org.au/publications/victorian-historical-journal/. The Victorian Historical Journal is a part of RHSV membership: https://www. historyvictoria.org.au/membership/become-a-member/ EDITORS Richard Broome and Judith Smart EDITORIAL BOARD OF THE VICTORIAN HISTORICAL JOURNAL Emeritus Professor Graeme Davison AO, FAHA, FASSA, FFAHA, Sir John Monash Distinguished Professor, Monash University (Chair) https://research.monash.edu/en/persons/graeme-davison Emeritus Professor Richard Broome, FAHA, FRHSV, Department of Archaeology and History, La Trobe University and President of the Royal Historical Society of Victoria Co-editor Victorian Historical Journal https://scholars.latrobe.edu.au/display/rlbroome Associate Professor Kat Ellinghaus, Department of Archaeology and History, La Trobe University https://scholars.latrobe.edu.au/display/kellinghaus Professor Katie Holmes, FASSA, Director, Centre for the Study of the Inland, La Trobe University https://scholars.latrobe.edu.au/display/kbholmes Professor Emerita Marian Quartly, FFAHS, Monash University https://research.monash.edu/en/persons/marian-quartly Professor Andrew May, Department of Historical and Philosophical Studies, University of Melbourne https://www.findanexpert.unimelb.edu.au/display/person13351 Emeritus Professor John Rickard, FAHA, FRHSV, Monash University https://research.monash.edu/en/persons/john-rickard Hon. -
Annual Report 2013 | 2014
Annual Report 2013 | 2014 THE SOVEREIGN HILL MUSEUMS ASSOCIATION i ii Sovereign Hill Annual Report 2013 | 2014 ar 2 Contents President’s Report 07 Chief Executive Officer’s Report 11 Marketing 15 Outdoor Museum 21 Education 31 Gold Museum 39 Narmbool 45 Tributes 49 Special Occasions 50 The Sovereign Hill Foundation 52 Major Sponsors, Grants, Donors & Corporate Members 53 Sovereign Hill Prospectors & Sir Henry Bolte Trust 54 The Sovereign Hill Museums Association 55 Staff 58 Volunteers 59 Financial & Statutory Reports 61 3 Charter PURPOSE Our purpose at Sovereign Hill and the Gold Museum is to inspire an understanding of the significance of the central Victorian gold rushes in Australia’s national story, and at Narmbool of the importance of the land, water and biodiversity in Australia’s future. VALUES Service We will ensure that every visitor’s experience is satisfying, and that their needs are paramount in our decision-making. Respect We will act with respect and free from any form of discrimination in what we say and do towards our colleagues, our visitors, and all with whom we do business; we will respect each other’s dignity and right to privacy; and respect the assets we share in doing our jobs. Safety We will maintain a safe and healthy workplace for all our visitors and for all who work on our sites. Integrity We will act in accordance with international and national codes of ethical practice for museums, including respect for the tangible and intangible heritage we collect, research and interpret; for the primary role of museums as places of life-long learning; and as individuals, work to help and support colleagues, work diligently to complete tasks, and at all times act honestly. -
KATHRYN RYAN Lives and Works in Warrnambool VIC
KATHRYN RYAN Lives and works in Warrnambool VIC SOLO EXHIBITIONS 2018 : South West Coast, Flinders Lane Gallery Melbourne ( May22- June 16) 2017 : Shifting Light, Olsen Gallery Sydney 2016: New Works : Olsen Irwin Works on Paper Gallery, Sydney 2016: New Works, Flinders Lane Gallery, Melbourne 2015: A Quiet Place, Paintings & Drawings 1995 – 2015 Warrnambool Art Gallery 2015: New Works: Olsen Irwin Works on Paper Gallery, Sydney, 2013: Shadow & Light, Flinders Lane Gallery Melbourne, 2012 : New Paintings, Tim Olsen Gallery , Sydney 2011 : Winter Landscapes, Flinders Lane Gallery, Melbourne 2010: New Paintings, Tim Olsen Gallery, Sydney 2009: New Paintings, Flinders Lane Gallery, Melbourne 2008: Recent Paintings, Tim Olsen Gallery, Sydney 2007: The Pines, Flinders Lane Gallery, Melbourne 2005: The South West, Flinders Lane Gallery, Melbourne 2003: Panmure Paddocks, Flinders Lane Gallery, Melbourne 2001: A Quiet Place, Flinders Lane Gallery, Melbourne 1999: Works on Paper, The Continental, Melbourne 1996: Paintings, Dianne Tanzer Gallery, Fitzroy AWARDS / PRIZES The Wynne Prize AGNSW : Finalist 2007, 2004, 2000 Salon des Refuses Wynne Selection: Finalist 2018 , 2017 , 2016, 2001, 1996, 1995 Lyn McCrea Memorial Drawing Prize, Noosa Regional Gallery QLD, Finalist 2018 Paul Guest Prize: Bendigo Art Gallery , Finalist 2016 Geelong Contemporary Art Prize: Finalist 2012 The John Leslie Art Prize for Landscape: Finalist 2012, 2018 Fleurieu Art Prize: Finalist 2011 Tattersall’s Club Art Prize for Landscape: Finalist 2017, 2016, 2015, 2014, 2013, -
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. -
Strategic Plan Geelong Gallery
GEELONG GALLERY STRATEGIC PLAN 2020–2023 0 GEELONG GALLERY STRATEGIC PLAN 2020 – 2023 Endorsed by Geelong Gallery Board 21 September 2020 CONTENTS 1. Our Purpose 3 2. Introduction 3 3. Organisational Background 4 4. Strategic Plan 6 1 GEELONG GALLERY STRATEGIC PLAN 2020 – 2023 Endorsed by Geelong Gallery Board 21 September 2020 1. OUR PURPOSE Geelong Gallery’s purpose is to provide an experience of art that will enrich people’s lives. PILLARS Geelong Gallery’s purpose is underpinned by four pillars: 1. Geelong Gallery will deliver artistic and cultural advancement for the community thus making Geelong a more liveable City; 2. Geelong Gallery will bring economic benefit to the region through tourism arising from its exhibitions and events; 3. Geelong Gallery will connect and empower people by promoting equity, diversity, inclusion, access and lifelong learning; 4. Geelong Gallery will expand its premises to provide greater access to its collections and exhibitions, in order to significantly enhance the delivery of its aims in the first, second and third pillars. 2. INTRODUCTION This document summarises the strategic direction of Geelong Gallery for the period 2020–2023. This Plan is endorsed by the Geelong Gallery Board and supported by six key sub-committees of the Board focussed on the Governance and guidance of Gallery operations. The plan is implemented by Senior Management via detailed annual business plans. While many Gallery activities delivered are quantifiable, the primary outcomes of the Gallery’s core business — across exhibitions, learning and public programs, and visitor experience — are qualitative: beyond conventional accounting and measurement, and reliant on peer, popular and critical response in the short and long term, and on the cumulative effects of learning, engagement and self-determination. -
ANNUAL REPORT 2013 / 2014 Page 1
Geelong Community Foundation ANNUAL REPORT 2013 / 2014 Page 1 Geelong Community Foundation Your Gift Working Forever Annual Report 2013/2014 OUR CORE PURPOSE Geelong Community Foundation ANNUAL REPORT 2013 / 2014 Page 2 The Geelong Community Foundation exists to make a positive and Our Structure lasting difference to people in the Geelong region. The Foundation has been endorsed by the Australian Tax Office as Our Role a charity. Donations to the Foundation’s Gift Fund are tax deductible The Geelong region has needs which are not being met from and the Foundation is exempt from tax. other funding sources. The Geelong Community Foundation The Foundation has been set up to support the people living in the encourages individuals, families, business and other organisations City of Greater Geelong, the Borough of Queenscliffe, the Surf to make donations to meet these needs, now and in the future. Coast Shire and the southern part of the Golden Plains Shire. These donations are retained as capital by the Foundation to build a perpetual and substantial fund for philanthropic purposes, with the The Foundation is governed by a volunteer board of Directors, with income from this capital used to make local community grants. a wide range of skills, experience and an extensive knowledge of the community. The Foundation is able to support charitable organisations across Our Major Aims the full spectrum of health and welfare services, as well as cultural • Manage and invest funds prudently to achieve fund growth and programs and environmental projects. good returns • Make grants for the long-term benefit of our community and evaluate their effectiveness • Provide a simple, cost effective way to make substantial donations to our community • Be part of new initiatives and achievements in community building • Maintain the highest professional standards, service and transparency to the community Geelong Community Foundation Tag Line The Foundation adopted a new Tag Line this year which is “Your Gift Working Forever”. -
Bruce Thurrowgood — CV
bruce thurrowgood — CV handmark QUALIFICATIONS 1971-74 Diploma Art & Design (Painting and Printmaking), Gordon Institute of Technology, Geelong 1974 Sumie Painting, with Andre’ Sollier, Melbourne 1988 Diploma of Education, Hawthorn Institute of Education, Melbourne SOLO EXHIBITIONS 2020 Handmark Gallery, Hobart 2003 Qdos, Lorne 2001-2 Qdos, Lorne 2000 Wholefoods Cafe & Gallery, Geelong 1994 Lauraine Diggins Fine Art, Melbourne 1991-2 Qdos, Lorne 1985 Pinacotheca, Waltham Place, Richmond, Melbourne 1982 Pinacotheca, Waltham Place, Richmond, Melbourne 1976 Works Gallery, Geelong 1975 Flinders Gallery, Geelong GROUP EXHIBITIONS 2013-14 Qdos, Lorne 2001 Art Company of Australia, ‘Skin’, Ocean Grove 2000 Wall Street Exchange, ‘Realities’, Qantas Club Lounge, Melbourne 1996 Lauraine Diggins Fine Art, Garden’s House, Royal Botanic Gardens, Melbourne 1995 Lauraine Diggins Fine Art 1995 Lauraine Diggins Fine Art, ‘Different Views: Aspects of the Landscape’ 1993 Geelong Art Gallery, ‘Survey 14: Images of the Geelong Region’ 1991 Geelong Art Gallery, ‘Survey 12: A Regional Review’ 1990 Qdos, Lorne 1988 Pinacotheca, 'Pinacotheca Artists', Richmond 1987 Deakin University Gallery, Geelong 1985 Geelong Art Gallery, ‘Survey surveyed’ 1983 Geelong Art Gallery, 'Survey 6' 1980 Niagara Galleries, Melbourne 1977 Geelong Art Gallery, 'Didn’t you go to the Gordon?’ 1976 Mildura Art Gallery, ‘The Mask Show’ 1976 Geelong Art Gallery, ‘Heads’ handmark.com.au bruce thurrowgood — CV 02 GROUP EXHIBITIONS 1975 Age Gallery, Melbourne, ‘A Look at a Region’ 1975 Geelong -
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 -
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.