The cosmos and the camera

As the Findings exhibition was based on the artist's research, the image caption reflects Daniel's core thesis questions, i.e."in what ways can astronomical imaging invoke a phenomenological experience for the viewer?"
All of the wall works were digital prints/photographic images of various sizes.There was also a short looped video playing opposite them. The lettering on the wall was vinyl.

How fine the air

Collections of quiet and reflective images that seem to imply a narrative. Drummond explores the abandoned, the forgotten, the fleeting, the rundown andthe empty buildings, people or moments. Turning upside-down the conventional ideas of aesthetic value, Drummond finds beauty amidst rubbish, empty spaces and the ostensibly ugly or overlooked. These works involve an accumulation of evidence and signs of habitation and presense, the way we're living, ultimately creating some kind of rough portraiture.

Home sweet home

This exhibition curated by Deborah walker, presented themes that contributed to the discussion of the connection between philosophy and the visual arts. 

The place: Jan 24 - Feb 13 2011

A review of John Forrest's 2011 exhibition The place.

The place

The place is a solo exhibition of acrylic paitings by painter John Forrest, which  represents a story of the place of his childhood in Werribee South in the 1950s. The exhibition featured approximately 80 paintings, including Darker than water, Prayer bridge, Campbells Cove, Good trick Caesar, Goodbye Pete, and Dog days.

Hollywood flesh

John Forrest combined fact and fiction to produce this exhibitions 120  artworks, designed to depict Hollywoood.

Mussolini and the idealisation of empire : the Augustan exhibition of Romanita

The Augustan Exhibition of Romanita`, held in Rome’s Palazzo delle Esposizioni between 1937 and 1938, exemplifies the aestheticisation, ritualisation and sacralisation of politics during the Fascist era in Italy. This article conducts a multi-layered spatial analysis of the exhibition that considers space as passively experienced, as an agent to re-map memory, as a mediator between intention and reception and as having both physical and mental characteristics. The relative sizes of the spaces, their sequence and their axial placement within the Palazzo’s plan were the most powerful forces that conveyed the exhibition’s overall political and social aims. The Mostra Augustea della Romanita` (MAR) is here analysed as a form of historical representation with a specific narrative which is played out within an orchestrated space in order to create and reinforce a (Fascist) political identity. The idea of Rome took on material aspects through a kind of ‘recognition effect’ for the visitor by presenting Romanita` as a collective mirror in which to view an image of their own social visage. Thus an active connection would, according to the organisers, be forged between a Roman past and a Fascist present, and its two leaders and creators, Augustus and Mussolini, as well as between the individual and society. The MAR also demonstrates the prevalence of the cult of Il Duce in Fascist society and its importance for maintaining high levels of consent. With its focus on a particular view of the ancient world, the MAR was an ephemeral event that acted as teleological justification for the advent and supposed permanence of Fascism, which at the same time presented itself as a unique archaeological, scientific and educational document of the Roman world.

Embodied: representations of land and gender in the photography of Donna Bailey and Norman Lindsay

The catalogue essay explores the themes presented within the photographs of two artist's vision of landscape. The artists work that James McArdle analyses and explores are Donna Bailey and Norman Lindsay.

Phiction : lies, illusion and the phantasm in photography

A touring exhibition of historic, modern and contemporary photographs from the collection of Horsham Regional Art Gallery, selected by curator James McArdle. His selection included photographs from the 19th century, with an emphasis on photographs which are not what they seem. The exhibition was designed to make us 'read' photographs more precisely, and appreciate the art of the photographer. This exhibition celebrated the originality and diversity of Australian vision in image and text.

Shelley Hannigan paintings

This exhibition was a part of Geelong’s Momenta! Arts Festival which showcased the arts in Geelong.  Exhibitions were held in shops, galleries, cafes and private residences. My exhibition was held in the Fiona Pickering photographic studio and showroom (now Beavs Bar). Key themes of these works were time, Place and identity.

'It's not enough for the work of art to be great' : children and young people as museum visitors

This paper examines trends in the understanding of children as visitors to art and natural history museums. It begins by examining research into the qualities of engagement by museum visitors generally. It then addresses the specific challenges posed by children as visitors, and the responses developed by museums to enhance their engagement. Three strategies are identified: social/family-centred interactivity, immersive experiences and engagement through interpretive dialogue. The three examples of programs of children’s engagement examined in this paper represent a major departure from such models towards a profoundly social form of interaction. The paper argues that these strategies are museums’ responses to shifts in pedagogical theory, and have been developed to increase the engagement of the child-visitor with exhibitions. Such strategies represent a genuine engagement between adults (both museum staff and parents) and children, and an opportunity for children to define the experience of cultural engagement. The consequence of this is a redefinition of the cultural role of museums in relation to children.

The reflexive museum : opening the door to behind the scenes

In this paper I argue for a shift in conceptualising exhibitions: from products to be presented to processes to be revealed. I will explore how museum theory and practice are inextricably intertwined and can be brought into fruitful dialogue within an exhibition setting. By revealing the processes leading to the definition of categories and the interpretation of identities, and by giving ‘faces’ to decisions made, the ‘reflexive museum’ can become an embodiment of democracy, which does not silence controversies but gives diversity public voices. The ‘reflexive museum’ as I envisage it, by referring to Beck and Bonss’ ‘reflexive modernity’ (2001) is not only self-aware, but confronts, critiques, questions and ultimately transforms itself and invites the visitor to democratically participate in this process.

First, I sketch out recent academic musings on museological approaches. Then I present some examples of exhibitions in Germany in which these theories have been put into practice. I conclude by arguing for a symbiotic relationship between museum theory and practice, enabling the museum to realise its unique potential as a dynamic ‘playground’ located between scholarly thinking and the public.