Add to ORKGThis article investigates aspects of the production, dissemination and consumption of UNESCO’s first international touring exhibition, Australian Aboriginal Culture, in order to explore the relationship between UNESCO and Australia in the development of a key cultural heritage program. It argues that the exhibition indicates a national and international spirit of universalism that attempted to address crosscultural ignorance in a period of post-war optimism
This report is an outcome of a Memorandum of Understanding between the Australia Council and the Uni...
Contemporary curation in Australia is made better if complicated by the call for Aboriginal consulta...
Item does not contain fulltextIn recent decades, cultural protocols have emerged as a non-judicial a...
Cultural protection needs fuel, but it can be a solar panel. Some may think cultural protection only...
The article studies UNESCO's program that, from the late 1960s onward, aimed at spreading globally t...
© 1994 Kayo TamuraIn 1992 two large-scale exhibitions on Australian painting were held in succession...
Aboriginal-influenced compositions have been central to Australian art music practice since the 1960...
International audienceThe many styles and techniques of Aboriginal art have been very effectively hi...
The cultural heritage of nation states, regions and communities is not only seen as a marker of iden...
This article argues that the inclusion of Indigenous Australian arts within federal cultural policym...
Australian exhibits at international exhibitions from the early to the mid-twentieth century demonst...
Indigenous participation in nineteenth-century and early-twentieth-century exhibitions and fairs has...
The 2008 Congress of the International Committee of the History of Art in Melbourne suggested in its...
Images, Institutions, and Evolving Nation: Transformations in Australian art, museums, and cultural...
Deposited with permission of the author. © 2002 Dr. Janice LallyThis is an evaluation of the contrib...
This report is an outcome of a Memorandum of Understanding between the Australia Council and the Uni...
Contemporary curation in Australia is made better if complicated by the call for Aboriginal consulta...
Item does not contain fulltextIn recent decades, cultural protocols have emerged as a non-judicial a...
Cultural protection needs fuel, but it can be a solar panel. Some may think cultural protection only...
The article studies UNESCO's program that, from the late 1960s onward, aimed at spreading globally t...
© 1994 Kayo TamuraIn 1992 two large-scale exhibitions on Australian painting were held in succession...
Aboriginal-influenced compositions have been central to Australian art music practice since the 1960...
International audienceThe many styles and techniques of Aboriginal art have been very effectively hi...
The cultural heritage of nation states, regions and communities is not only seen as a marker of iden...
This article argues that the inclusion of Indigenous Australian arts within federal cultural policym...
Australian exhibits at international exhibitions from the early to the mid-twentieth century demonst...
Indigenous participation in nineteenth-century and early-twentieth-century exhibitions and fairs has...
The 2008 Congress of the International Committee of the History of Art in Melbourne suggested in its...
Images, Institutions, and Evolving Nation: Transformations in Australian art, museums, and cultural...
Deposited with permission of the author. © 2002 Dr. Janice LallyThis is an evaluation of the contrib...
This report is an outcome of a Memorandum of Understanding between the Australia Council and the Uni...
Contemporary curation in Australia is made better if complicated by the call for Aboriginal consulta...
Item does not contain fulltextIn recent decades, cultural protocols have emerged as a non-judicial a...