Opened eyes on Australian exhibition history: review of Australian Art Exhibitions: Opening our Eyes by Joanna Mendelssohn, Catherine De Lorenzo, Alison Inglis and Catherine Speck (Melbourne: Thames & Hudson, 2018)

Research output: Contribution to journalReview article

Abstract

A review of a compendious volume that traces the history of Australian exhibitions from the middle of the twentieth century to 2018. It examines how its authors place the field of exhibition history in relation to other agencies of influence on Australian culture: government policy, funding agencies, directors’ planning committees, art historians, art critics, and the inventive ways generations of curators responded to a series of artistic movements, indigenous aspirations, the cultures of minorities and successive waves of migrants. It probes possible contradictions in the volume’s presentation of exophoric or endophoric models of cohesion in national exhibitionary culture, compares it with histories of curating of other countries, and speculates upon alternative approaches to artists’ contributions to exhibition history, reasons for unequal achievements in the separate Australian states and the photography of spectating.
Original languageEnglish
Pages (from-to)1-16
Number of pages16
JournalJournal of Art Historiography
Volume20
Publication statusPublished - Jun 2019

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Exhibition History
Melbourne
Australian Art
History
Thames
Art Exhibitions
Planning
Photography
Australian Culture
Migrants
Artistic Movements
Waves
Artist
Government Policy
Curating
Funding
Aspiration
Minorities
Art Historians
National Cultures

Cite this

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abstract = "A review of a compendious volume that traces the history of Australian exhibitions from the middle of the twentieth century to 2018. It examines how its authors place the field of exhibition history in relation to other agencies of influence on Australian culture: government policy, funding agencies, directors’ planning committees, art historians, art critics, and the inventive ways generations of curators responded to a series of artistic movements, indigenous aspirations, the cultures of minorities and successive waves of migrants. It probes possible contradictions in the volume’s presentation of exophoric or endophoric models of cohesion in national exhibitionary culture, compares it with histories of curating of other countries, and speculates upon alternative approaches to artists’ contributions to exhibition history, reasons for unequal achievements in the separate Australian states and the photography of spectating.",
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