Art Gallery of New South Wales

This article interrogates the intersection of queer diasporic identity, collective Socio-Political Identity, and the ‘algorithmic gaze’ through a critical Practice-Based Research (PBR) methodology. Situated within the sociopolitical rupture of post-2019 Hong Kong, the authors examine how collective culture and the homogenizing forces of generative Artificial Intelligence (GenAI) enact a dual erasure of local queer narratives. To address this, the study proposes a ‘Queer Social Ecology’ framework, adapting Bronfenbrenner’s model to map the coercive pressures exerted on the queer subject. Through the coproduction of the animated documentary Rhythms of Identity , based on the oral history of a Hong Kong migrant (‘YC’), this research demonstrates how animation functions as a ‘conditional space’ for articulating inarticulable trauma. Furthermore, the project employs Critical Technical Practice (CTP) by operationalizing GenAI not to refine but to perform bias—generating visual ‘glitches’ that expose the heteronormative exclusions of machine learning. The article argues that participatory animation serves as a vital counter-archive, preserving the texture of lived experience against the sanitizing forces of state power and technological standardization.

ABSTRACT Ross Gibson describes his ideal museum as an ‘aesthetically designed environment [in which] an urge seems to flow through and from each object because of an energy generated within the sense of the people encountering the objects’ (2015, 69). The vivacious energy of a museum sparks in the push and pull between an engaged viewer and systems of display. How might a curator orchestrate ‘vivacity’ in an exhibition? How did Gibson design such spaces himself? By turning to his writings on art and museology alongside conversations held with the curatorial team at the Art Gallery of New South Wales (AGNSW), this article offers a set of notes towards the contemporary museum. Our essay explores Gibson’s call for liveliness in museums and seeks to unravel his distinctively animist reception aesthetics.

This essay will address comparative perspectives on the modern and contemporary art histories of Southeast Asia and Northeast Asia. Parts of this comparison have been carried out earlier, 1 but I will here include two references to recent bodies of work which assemble and analyse texts drawn from the different geographical and cultural regions of Northeast and Southeast Asia. This inquiry may enable us to question common approaches to this material and examine where these compilations to date differ between their respective regions or selectively omit certain issues. They also provide varying approaches, if not embedded cultural delineations, of the shift from ‘modern’ to ‘contemporary’ art in these regions. 2 Such a comparison will be of an initial and exploratory nature in some areas that may be unfamiliar to standard art history as it is now evolving. The intent is to mark out new issues and indicate directions for future research beyond the present author.

Mechanisms" (Universitt Gttingen, 2025).Sheldrick's most enduring legacy is the SHELX suite of programs for crystal-structure solution and refinement.First released in the 1970s for small-molecule analysis and later extended to macromolecular methods via direct, Patterson and dualspace techniques, SHELX underpins modern structure determination ranging from mineral and structural chemistry to macromolecular crystallography.His landmark paper, "A Short History of SHELX" (Sheldrick, 2008), is credited with elevating Acta Crystallographica Section A to an impact factor that surpassed

This article investigates experimental techniques in contemporary American art and their global impact. The research explores how contemporary American artists, particularly James Turrell, Jenny Holzer, and Bill Viola, employ experimental techniques through their aesthetic experiences, motivations, and intentions. It also examines how the international art community perceives these techniques. A phenomenological approach was employed, emphasizing subjective experience and interpretation. The findings reveal that experimental art practices in the United States are characterized by innovation and unconventional approaches, with techniques such as light and space manipulation, text-based art, and video art widely used. Additionally, bioart, interactive and participatory installations, and digital art expand the scope of experimental practices. These works reflect critical social and political issues and invite audience responses, constructing new realities through innovative materials and techniques. The study demonstrates the significant global influence of American experimental art, contributing to cross-cultural dialogue and the evolution of contemporary artistic discourse. The findings hold implications for integrating interdisciplinary, technology-oriented approaches into art education and curation, encouraging innovation and audience engagement.

ABSTRACT This text explores the porous relationship between movement and walking in place-based artistic research. Drawing upon thinking from contemporary art, research-creation, Indigenous studies, and the environmental humanities, walking as a situated artistic practice is engaged as a research method that enacts a porous attunement to movements and disturbances within place. Recounting walking experiences along Belongil Beach, within the Arakwal coastline in the Northern Rivers region of New South Wales, Australia, the author examines how encounters with phenomena during these walks may be reconfigured through sculptural experiments, revealing things previously masked by the tide, buried in the dunes or overlooked. The site-responsive artistic engagements examined reveal an interplay between absence and presence, highlighting fraught tensions between human and nonhuman bodies, colonial legacies, histories of mineral extraction, property and weathering within the beach. In an era marked by rising sea levels and ecological crisis, attuning to movements through walking within the intertidal zone of the beach paves the way for artistic responses that emerge from within the tensions of place, embodying the material-ethical conditions of an ever-shifting coastline.

Interest in exhibition interpretive planning in the context of art museums is on the rise and educators are increasingly being called upon to work alongside their curatorial colleagues to reconceptualize the visitor experience in spaces where art is installed by embedding diverse interpretive strategies throughout exhibitions in order to transform their galleries into lively sites of both learning and enjoyment for all. In this chapter, we describe several different examples of interpretive spaces developed at the Kitchener- Waterloo Art Gallery over the last decade and contextualize them in the relevant literature. In so doing, we argue that designing more dynamic gallery spaces is critical if art museums are to ensure that learning and meaningful engagement are at the core of all the experiences they offer, not just their educational and public programs.

This thesis is based on a photographic collection at the Art Gallery of Ontario that comprise fifty-one photographs and photogravures by the filmmaker and photographer, Robert J. Flaherty (1884-1951). The objects consist of three groups: twenty-three photographs and nineteen photogravures of northern Arctic scenes and portraits; two presently unattributed photographs of northern scenes that are associated with Flaherty's work of the north; and seven portraits of Canadian artists Frances Loring (1887-1968) and Florence Wyle (1881-1968) taken in Toronto, Ontario. All the photographs were taken between 1910 and 1921; the photogravures were published in 1922, in portfolios titled, Camera Studies of the Far North. This thesis has five components: a biography of Flaherty, literature review of what is presently known about Flaherty and his photography, a brief description of Flaherty's photographs in public institutions, a full catalogue of the fifty-one objects, which is fully illustrated and includes comparative illustrations of related objects examined at the Library and Archives of Canada in Ottawa, and an analysis of three photographs from each of the Flaherty groupings at AGO, primarily based on the research from the catalogue.

Mental health concerns present significant challenges for Australian youth. Arts organizations play a key role in promoting preventative mental health strategies through enhancing the social and emotional well-being (SEWB) of youth. However, little is known about how the arts promote SEWB and the processes and contexts through which this occurs. This article describes a 2021 workshop conducted on the lands of Whadyuk Noongar in Boorloo, Perth, Western Australia as phase 1 of a research project aimed to improve the capacity of arts organizations to promote SEWB. Utilizing tableau, lightbox activities, and focus groups, the workshop employed art-based data-collection to identify approaches used by arts organizations to promote the SEWB of youth. The approaches encompassed developing empowerment and agency, creating safe spaces, connecting, and collaborating and encouraging emotion awareness. Given the high engagement of participants in the data collection process, art-based activities will be used in future phases of the project.