Founded | 6 June 1992 (incorporation) |
---|---|
Type | Peak council; central profession body; incorporated association |
ABN 83 048 139 955 | |
Registration no. | A02074 (Associations Incorporation Act 1991 (ACT)) |
Location |
|
Origins | Merger of: Council of Australian Museums Associations, Museums Association of Australia, Art Museums Association of Australia, and Museum Education Association of Australia |
Area served | Australia |
Website | www |
Formerly called | Museums Australia Museums Galleries Australia |
Categories | Museum administration |
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Frequency | Biannual |
Publisher | Australian Museums and Galleries Association |
First issue | 2016 | (predecessor 1992)
Country | Australia |
Language | English |
ISSN | 2207-1806 |
OCLC | 964444361 |
The Australian Museums and Galleries Association (AMaGA), formerly Museums Galleries Australia and Museums Australia, is the national professional organisation and peak council for museums and public art galleries in Australia. It advocates for the sector and provides a range of professional services to its members at a national, state and interest group level.
Museums Australia was established on 1 January 1994 by a national amalgamation of four museums associations: the Council of Australian Museums Associations, the Museums Association of Australia, the Art Museums Association of Australia, and the Museum Education Association of Australia. It changed its name to Museums Australia in 2014/15, and then to the Australian Museums and Galleries Association in 2018.
AMaGA publishes a biannual journal, Museums Galleries Australia Magazine.
As a national advocacy body, the organisation provides professional development and training opportunities, newsletters and representation. [1] Members represent a wide range of national, state, regional and community museums, galleries, historic sites, botanic gardens and zoos, research centres and Australian Indigenous cultural centres. There are branches in every state and territory, and membership is open to both organisations of any size or type and individuals, both professional and volunteer. [2]
In 1937, the Art Galleries' and Museums' Association of Australia and New Zealand held its inaugural meeting in Auckland. [3] [4] [5] This single organisation represented not-for-profit art galleries and museums in Australia and New Zealand. In 1948, the art galleries dissociated and the resultant Museums Association of Australia covered only science and history museums. [6]
Failed attempts to create a single national body were made in the 1960s and 1970s. In 1981, the Council of Australian Museum Associations (CAMA) was formed to foster amalgamation but CAMA was under-resourced for that task until the 1990s. At that time there were three major museums organisations in Australia: the Art Museums Association, the Museums Association and CAMA. [6]
The pooling of meagre resources was one impetus towards amalgamation but there was also a pressing need to set uniform standards for museums in relation to artists' moral rights, museum ethics, cultural heritage export restrictions and conservation. [6]
In 1993, the executive officer of the Council of Australian Museum Associations, Greg Marginson, authored "Amalgamation : unity and diversity : the path towards a united museums' association for Australia", which estimated that there were around 1,900 museums in Australia with their professional wants and needs represented by at least 22 different organisations. He reported that Commonwealth and State government funding bodies were confused and frustrated by the lack of a central point of contact with the museum sector and profession. [6] [7] At that time there were 12 programs training museum professionals and CAMA saw a need for a single national body to ensure uniform museum studies curriculums and accreditation. [6]
On 1 January 1994, Museums Australia was formed by the amalgamation of the Council of Australian Museums Associations, the Museums Association of Australia, the Art Museums Association of Australia, and Museum Education Association of Australia. [8] [9]
In 2014–15 Museums Australia rebranded itself as Museums Galleries Australia, [10] [11] and from 2018 it has been called Australian Museums and Galleries Association (AMaGA). [12]
National networks, which are divisions AMaGA's organisational structure with a committee and reporting responsibilities, consist of groups of members with shared interests of work in particular areas of professional practice. [13]
The Performing Arts Heritage Network (PAHN) has a wide range of institutions at both state and national levels as members, with a focus on conserving the heritage of the performing arts. This group, headed by Jenny Fewster of the AusStage project at Flinders University, contributes as a partner to the project. [14]
Other national networks include Art Craft Design, Aviation Museums, Education, Historians and Evaluation and Visitor Research. [13]
The Museums & Galleries National Awards (MAGNAs) were established in 2011, and aim to "recognise excellent work nationally in the categories of exhibition, public programs and sustainability projects". Entry is open to all Australian members of AMaGA, apart from the Indigenous Programs category and entrants which are keeping places (Aboriginal community-managed places for the safekeeping of repatriated [15] and other cultural material [16] ); these are open to all. The other categories are (as of 2021 [update] ): Permanent Exhibition or Gallery Fitout; Temporary/Travelling Exhibition; Interpretation, Learning and Audience Engagement; Rapid Response Collecting Project; and Research. [17] [18]
The Museums Australasia Multimedia & Publication Design Awards (MAPDAs), which were established in 1994, focus on design and communication, and as of 2021 [update] have 17 categories. [18]
The Council of Australian Museum Association published the magazine Museum National from 1992, and Museums Australia continued to publish under this name from 1994 until 2003. [19]
From 2003 it became Museums Australia. [20]
In 2016, the journal became Museums Galleries Australia Magazine, published electronically [21] and in hardcopy. [22] As of 2019 [update] , the cover name as shown in their shop catalogue is Museums Galleries Australia Magazine, published bi-annually. [23]
Annual reports since 2011 are published online. [28]
The various state branches and national networks (formerly called special interest groups) also produce newsletters, conference proceedings and other publications.
Among its many other publications are:
The National Gallery of Australia (NGA), formerly the Australian National Gallery, is the national art museum of Australia as well as one of the largest art museums in Australia, holding more than 166,000 works of art. Located in Canberra in the Australian Capital Territory, it was established in 1967 by the Australian Government as a national public art museum. As of 2022 it is under the directorship of Nick Mitzevich.
The South Australian Museum is a natural history museum and research institution in Adelaide, South Australia, founded in 1856 and owned by the Government of South Australia. It occupies a complex of buildings on North Terrace in the cultural precinct of the Adelaide Parklands. Plans are under way to move much of its Australian Aboriginal cultural collection, into a new National Gallery for Aboriginal Art and Cultures.
The Art Gallery of South Australia (AGSA), established as the National Gallery of South Australia in 1881, is located in Adelaide. It is the most significant visual arts museum in the Australian state of South Australia. It has a collection of almost 45,000 works of art, making it the second largest state art collection in Australia. As part of North Terrace cultural precinct, the gallery is flanked by the South Australian Museum to the west and the University of Adelaide to the east.
Kevin John Gilbert was an Aboriginal Australian author, activist, artist, poet, playwright and printmaker. A Wiradjuri man, Gilbert was born on the banks of the Lachlan River in New South Wales. Gilbert was the first Aboriginal playwright and printmaker. He was an active human rights defender and was involved in the establishment of the Aboriginal Tent Embassy in 1972 as well as various protests to advocate for Aboriginal Australian sovereignty.
Michael Riley was an Aboriginal Australian photographer and filmmaker, and co-founder of Boomalli Aboriginal Artists Cooperative. A significant figure in contemporary Indigenous Australian art, Riley's work is held by many public art institutions, including the National Gallery of Australia.
Indigenous intellectual property is a term used in national and international forums to describe intellectual property held to be collectively owned by various Indigenous peoples, and by extension, their legal rights to protect specific such property. This property includes cultural knowledge of their groups and many aspects of their cultural heritage and knowledge, including that held in oral history. In Australia, the term Indigenous cultural and intellectual property, abbreviated as ICIP, is commonly used.
Ellen José (1951 – 2 June 2017) was an Australian Indigenous artist, photographer and anarchist. She was a Torres Strait Islander descendant from Murray, Darnley and Horn Islands who lived in Melbourne with husband and fellow anarchist Joseph Toscano.
The Collections Trust is an independent UK-based charity that works with museums, libraries, galleries and archives worldwide to improve the management and use of collections. It was established in February 1977 as the Museum Documentation Association (MDA) and re-launched as the Collections Trust in 2008. Its head office is in Shoreditch, London.
Danie Mellor is an Australian artist who was the winner of 2009 National Aboriginal & Torres Strait Islander Art Award. Born in Mackay, Queensland, Mellor grew up in Scotland, Australia, and South Africa before undertaking tertiary studies at North Adelaide School of Art, the Australian National University (ANU) and Birmingham Institute of Art and Design. He then took up a post lecturing at Sydney College of the Arts. He works in different media including printmaking, drawing, painting, and sculpture. Considered a key figure in contemporary Indigenous Australian art, the dominant theme in Mellor's art is the relationship between Indigenous and non-Indigenous Australian cultures.
Bronwyn Bancroft is an Aboriginal Australian artist, administrator, book illustrator, and among the first three Australian fashion designers to show their work in Paris. She was born in Tenterfield, New South Wales, and trained in Canberra and Sydney.
Contemporary Indigenous Australian art is the modern art work produced by Indigenous Australians, that is, Aboriginal Australians and Torres Strait Islander people. It is generally regarded as beginning in 1971 with a painting movement that started at Papunya, northwest of Alice Springs, Northern Territory, involving Aboriginal artists such as Clifford Possum Tjapaltjarri and Kaapa Tjampitjinpa, and facilitated by white Australian teacher and art worker Geoffrey Bardon. The movement spawned widespread interest across rural and remote Aboriginal Australia in creating art, while contemporary Indigenous art of a different nature also emerged in urban centres; together they have become central to Australian art. Indigenous art centres have fostered the emergence of the contemporary art movement, and as of 2010 were estimated to represent over 5000 artists, mostly in Australia's north and west.
Hetti Kemerre Perkins is an Aboriginal Australian art curator and writer. She is known for her work at the Art Gallery of New South Wales, where she was the senior curator of Aboriginal and Torres Strait Islander art at the gallery from around 1998 until 2011, and for many significant exhibitions and projects.
The Islamic Museum of Australia (IMA) is a community museum in Thornbury, Melbourne, Australia. It began as a not-for-profit foundation founded in May 2010 with the purpose of establishing the first Islamic museum in Australia. It aims to showcase the artistic heritage and historical contributions of Muslims in Australia and abroad through the display of artworks and historical artefacts.
Banduk Mamburra Wananamba Marika, known after her death as Dr B Marika, was an artist, printmaker and environmental activist from Arnhem Land, Northern Territory, Australia, who was dedicated to the development, recognition and preservation of Indigenous Australian art and culture. She uses her artwork to translate her ancestral stories through figures and motifs. She was one of the few Indigenous artists to specialize almost entirely in print making. She was the first Aboriginal person to serve on the National Gallery of Australia's board.
Terri Janke is an Indigenous Australian lawyer of Wuthathi/Meriam heritage. She is considered a leading international authority on Indigenous cultural and intellectual property (ICIP), and is the Solicitor Director of Terri Janke and Company.
Vernon Ah Kee is a contemporary Australian artist, political activist and founding member of ProppaNOW. Based primarily in Brisbane, Queensland, Ah Kee is an Aboriginal Australian man with ties to the Kuku Yalandji, Waanji, Yidinji and Gugu Yimithirr peoples in Queensland. His art practice typically focuses on his Aboriginal Australian identity and place within a modern Australian framework, and is concerned with themes of skin, skin colour, race, privilege and racism. Ah Kee has exhibited his art at numerous galleries across Australia, including the Art Gallery of New South Wales (AGNSW) and the Museum of Contemporary Art Australia, and has also exhibited internationally, most notably representing Australia at the 2009 Venice Biennale and the 2015 Istanbul Biennial.
George Milpurrurru (1934–1998) was an Australian Aboriginal artist known for his bark paintings.
Djon Mundine is an Aboriginal Australian artist, curator, activist and writer. He is a member of the Bundjalung people of northern New South Wales. He is known for having conceived the 1988 work Aboriginal Memorial, on display at the National Gallery of Art in Canberra.
Castlemaine Art Museum is an art gallery and museum in Castlemaine, Victoria, Australia. Founded in 1913, it is housed in a purpose-built Art Deco building, completed in 1931 and heritage-listed by the National Trust. Its collection concentrates on Australian art and the museum houses historical artefacts and displays drawn from the local district.
Jan Dunn born in Springvale, Victoria, Australia, was a potter, ceramicist and teacher.
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