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This volume of original essays brings together, for the first time, histories of the making and of the makers of most of the major Indigenous Australian museum collections. These collections are a principal source of information on how Aboriginal people lived in the past. Knowing the context in which any collection was created-the intellectual frameworks within which the collectors were working, their collecting practices, what they failed to collect, and what Aboriginal people withheld-is vital to understanding how any collection relates to the Aboriginal society from which it was derived. Once made, collections have had mixed fates: some have become the jewel of a museum's holdings, while others have been divided and dispersed across the world, or retained but neglected. The essays in this volume raise issues about representation, institutional policies, the periodisation of collecting, intellectual history, material culture studies, Aboriginal culture and the idea of a 'collection'.
The popular first edition established itself as both authoritative and informative; it is both a guide book and an alternative social history, told through precincts of significance to the city’s Indigenous people. The sites within the precincts, and their accompanying stories and photographs, evoke Sydney’s ancient past, and allow us all to celebrate the living Aboriginal culture of today. Now available as a phone app from iTunes or Google Play: http://bit.ly/16s9zI0
"Traditionally used in Aboriginal funeral ceremonies, memorial poles have been transformed into compelling contemporary artworks. The memorial pole is made from the trunk of the Eucalyptus tetradonta, hollowed naturally by termites. When the bones of the deceased were placed inside, it signified the moment when the spirit had finally returned home--when they had left the "outside" world, and become one with the "inside" world of the ancestral realm. Today, these works of art have become a powerful symbol of Aboriginal culture's significance around the globe. The artists featured in the book--including John Mawurndjul, Djambawa Marawili, and Nyapanyapa Yunupingu--are some of Australia's most acclaimed contemporary artists. Taking their inspiration from ancient clan insignia, the designs on these poles are transformed in new and personal ways that offer a powerful reminder of the resilience and beauty of Aboriginal culture. This book features dazzling color images and impeccable scholarship and includes essays from some of the leading scholars in the field of Aboriginal art"--
Using extraordinary Indigenous Australian art and artifacts preserved in museums across Great Britain and Ireland, the authors present a global history that entwines ancestral pasts with epochs of empire and colony leading to the contemporary moment.
This volume of original essays brings together, for the first time, histories of the making and of the makers of most of the major Indigenous Australian museum collections. These collections are a principal source of information on how Aboriginal people lived in the past. Knowing the context in which any collection was created; the intellectual frameworks within which the collectors were working, their collecting practices, what they failed to collect, and what Aboriginal people withheld; is vital to understanding how any collection relates to the Aboriginal society from which it was derived. Once made, collections have had mixed fates: some have become the jewel of a museum's holdings, while others have been divided and dispersed across the world, or retained but neglected. The essays in this volume raise issues about representation, institutional policies, the periodisation of collecting, intellectual history, material culture studies, Aboriginal culture and the idea of a 'collection'.
Descriptions and illustrations of gorgets (breastplates) held by the National Museum of Australia; history of king plates; list of references to Aboriginal people wearing gorgets and known Aboriginal gorgets.
Indigenous peoples have long sought the return of ancestral human remains and associated artifacts from western museums and scientific institutions. Since the late 1970s their efforts have led museum curators and researchers to re-evaluate their practices and policies in respect to the scientific uses of human remains. New partnerships have been established between cultural and scientific institutions and indigenous communities. Human remains and culturally significant objects have been returned to the care of indigenous communities, although the fate of bones and burial artifacts in numerous collections remains unresolved and, in some instances, the subject of controversy. In this book, leading researchers from a wide range of disciplines in the humanities and social sciences reflect critically on the historical, cultural, ethical and scientific dimensions of repatriation. Through various case studies they consider the impact of repatriation: what have been the benefits, and in what ways has repatriation given rise to new problems for indigenous people, scientists and museum personnel. It features chapters by indigenous knowledge custodians, who reflect upon recent debates and interaction between indigenous people and researchers in disciplines with direct interests in the continued scientific preservation of human remains. In this book, leading researchers from a wide range of disciplines in the humanities and social sciences reflect critically on the historical, cultural, ethical and scientific dimensions of repatriation. Through various case studies they consider the impact of repatriation: what have been the benefits, and in what ways has repatriation given rise to new problems for indigenous people, scientists and museum personnel. It features chapters by indigenous knowledge custodians, who reflect upon recent debates and interaction between indigenous people and researchers in disciplines with direct interests in the continued scientific preservation of human remains.
"This publication accompanies the exhibition Everywhen: The Eternal Present in Indigenous Art from Australia, Harvard Art Museums, Cambridge, Massachusetts, February 5 through September 18, 2016."
New scholarship on a world-caliber museum collection of Aboriginal Australian art
From the ancient Etruscans and Romans, to the Renaissance masters of Michelangelo and Raphael, the Vatican Museums represent an aspect of the history of humanity through art. The Indigenous Australian collection is a little known and unexplored part of that story. Being amongst some of the earliest known documentations of Australian Indigenous cultures, the collection includes the earliest extant set of Pukumani poles from Melville and Bathurst Islands, alongside more recent contributions of artworks and cultural objects, and presents materials that have not been exhibited before in Australia. The responsibility to culturally reconnect relevant contemporary Indigenous communities to their material heritage held in the museum has been realised and is documented in this catalogue, which includes a catalogue of objects and essays by Indigenous and non-Indigenous authors. During the process of community visits and consultations, images of the objects brought old and young people together, instigating intergenerational dialogue about the past. Now, in collaboration with communities, the Indigenous collection can be seen in this catalogue and is represented at the heart of the Vatican Museums where the objects have become cultural ambassadors inviting others to come and learn more about Australian Indigenous cultures.