Follow Us
About
About the Association
Indigenisation Values Statement
Executive and Staff
Contact Us
Subscribe to our newsletter
Privacy Statement
Annual General Meeting 2023
Membership
Membership Benefits
Membership Order Page
News
Advocacy
Advocacy Policy
Advocacy Working Groups
Current and Past Campaigns
Conferences
2024 Conference | Australian National University
Call for Sessions | 2024 Conference
Past Conferences
2023 Conference | Griffith University
2022 Conference | Demonstrations
Conference site
Organising Principles
Fees and Bursaries
Individual Registration
Institution Registration
FAQs
2021 Conference | Impact
2019 Conference
2018 Conference
2017 Conference
2016 Conference
2015 Conference
2014 Conference
2013 Conference
2012 Conference
2011 Conference
2010 Conference
2009 Conference
2008 Conference
2007 Conference
2006 Conference
Journal
ANZJA Current Issue
Past Issues
ANZJA Call for Papers
Propose a Special Issue for ANZJA
Mentoring
Awards and Funding
Early Career Publishing Program
PhD Prize
PhD Prize 2022
RESEARCH IN FOCUS 2021
Research in Focus 2020
AIAH Art History Research Grants
AIAH Art History Research Grants 2022 Form
AIAH Art History Research Grant Recipients 2021
AIAH Art History Research Grant Acquittal 2021
AIAH Art History Research Grant Recipients 2020
AIAH Art History Research Grant Acquittal 2020
Art Writing and Publishing Awards
2022 Prizes
A shared vision: The Hunter Collection
After The Australian Ugliness
Art and Nature in the Anthropocene: Planetary Aesthetics
ART + CLIMATE = CHANGE II
Art Writing in Crisis
Atlas of Maritime Buddhism
Australia at the Venice Biennale: A Century of Contemporary Art
Bark Ladies: Eleven Artists from Yirrkala
Bill Hammond: Across the Evening Sky
Bogimbah Creek Mission: The First Aboriginal Experiment
Brett Graham: Tai Moana Tai Tangata
Camille Henrot
Carbon Matter(s)
Choreographing Intersubjectivity in Performance Art
Dale Harding: There is no before
Dale Harding: Through a lens of visitation
David Rosetzky: Composite Acts
Doing Feminism: Women’s Art and Feminist Criticism in Australia
Dual/Duel
Dušan and Voitre Marek: Surrealists at sea
ECONOMYTHOLOGIES
European Masterpieces from The Metropolitan Museum of Art, New York
Fairweather and China
Fiona Foley Provocateur: An Art Life
Fiona Foley: Veiled Paradise
Flesh after Fifty: Changing images of older women in Art
“Following Kungka Kutjarra,” in Irrititja Kuwarri Tjungu | Past and Present Together: Fifty Years of Papunya Tula Artists
Frances Burke: Designer of Modern Textiles
French Impressionism from the Museum of Fine Arts, Boston
Homework
It’s not personal: Post 60s body art and performance
Joanna Margaret Paul – Imagined in the context of a room
Gabrielle Chanel. Fashion Manifesto
Golden Shells and Elegant Games of Japan
Goya: Drawings from the Prado Museum
Graphic Identities
Groundwork
HELLZAPOPPIN’! The Art of Flying Nun
HG:60
Hilma af Klint: The secret paintings
Hybrid
I always knew you were the shape – an essay about the artwork of Guy Benfield
Light & Darkness: Late Modernism and the JW Power Collection
Matisse: Life & spirit, masterpieces from the Centre Pompidou, Paris
Ngā Tai Whakarongorua | Encounters
Nicole Ellis: Fabrications
Out of Place
Performance Costume: New Perspectives and Methods
Rita Angus: An Artist’s Life
Rita Angus: New Zealand Modernist
Robert MacPherson: Nominal Gestures
Round About or Inside
She-Oak and Sunlight: Australian Impressionism
Source Materials
Space Practising Tools
Surrealism
Surrealist Art | He Toi Pohewa
Susan Ecker | Subject: Studio
Tarnanthi
Te Puna Waiora: The Distinguished Weavers of Te Kāhui Whiritoi
Tense Past
The Asian Modern
The Back of the Painting
The Color of Modernism
The Data Imaginary: Fears and Fantasies
The exhibitionists: a history of Sydney’s Art Gallery of New South Wales
The image is not nothing (Concrete Archives) Catalogue
The Lure of the Social – Encounters with Contemporary Artists
The present moment: The art of Clarice Beckett
The 10th Asia Pacific Triennial of Contemporary Art (APT10)
There we were all in one place
Tree Story
Uneven Bodies (Reader)
Victory over Death: The Art of Colin McCahon
WARWAR: The Art of Torres Strait
Where Lakes Once Had Water
William Yang: Seeing and Being Seen
2021 PRIZES
A Sorrowful Act: The Wreck of the Zeewijk
Agatha Gothe-Snape: The Outcome Is Certain
Billy Apple® Life/Work
Cognitive Dissidents: Reasons to be Cheerful
Italian Modern Art in the Age of Fascism
Gordon Bennett: Selected Writings
Hidden Light: Early Canterbury and West Coast Photography
She Persists: Perspective on Women in Art & Design
Te Manu Huna a Tāne
The Australian Art Field: Practices, Policies, Institutions
Unfinished Business: The Art of Gordon Bennett
Where Dragon Veins Meet: the Kangxi Emperor and His Estate at Rehe
2020 Prizes
AWAPAs Winners │Highly Commended │Entries 2020
All men choose the path they walk: Art and the scales of justice
Apparitions: Photography and Dissemination
Bonita Ely: Future Tense
Capturing Nature: Early Scientific Photography at the Australian Museum 1857–1893
Cosmopolitan: Art from the 1930s in the University of Western Australia Art Collection and the Cruthers Collection of Women’s Art
Darren Sylvester: carve a future, devour everything, become something
Edith Amituanai: Double Take
Eugenia Raskopoulos: Vestiges of the Tongue
Louise Henderson: From Life
Melbourne Modern: European Art & Design at RMIT Since 1945
On the Last Afternoon: Disrupted Ecologies and the Work of Joyce Campbell
Phone & Spear: a Yuta Anthropology
Photography and Ontology: Unsettling Images
Shapes of Knowledge
Spiritual Journeying: The Art of Tim Johnson
2019 prizes
2018 Prizes
2017 Prizes
2016 Prizes
2015 Prizes
2011 Prizes
2010 Prizes
2014 Prizes
2013 Prizes
2012 Prizes
2009 Prizes
2008 Prizes
Directory
Directory of Art Historians and Art Researchers in the Asia Pacific Region
About
- About the Association
- Indigenisation Values Statement
- Executive and Staff
- Contact Us
- Subscribe to our newsletter
- Privacy Statement
- Annual General Meeting 2023
Membership
- Membership Benefits
- Membership Order Page
News
Advocacy
- Advocacy Policy
- Advocacy Working Groups
- Current and Past Campaigns
Conferences
- 2024 Conference | Australian National University
- Call for Sessions | 2024 Conference
- Past Conferences
- 2023 Conference | Griffith University
- 2022 Conference | Demonstrations
- Conference site
- Organising Principles
- Fees and Bursaries
- Individual Registration
- Institution Registration
- FAQs
- 2021 Conference | Impact
- 2019 Conference
- 2018 Conference
- 2017 Conference
- 2016 Conference
- 2015 Conference
- 2014 Conference
- 2013 Conference
- 2012 Conference
- 2011 Conference
- 2010 Conference
- 2009 Conference
- 2008 Conference
- 2007 Conference
- 2006 Conference
Journal
- ANZJA Current Issue
- Past Issues
- ANZJA Call for Papers
- Propose a Special Issue for ANZJA
Mentoring
Awards and Funding
- Early Career Publishing Program
- PhD Prize
- PhD Prize 2022
- RESEARCH IN FOCUS 2021
- Research in Focus 2020
- AIAH Art History Research Grants
- AIAH Art History Research Grants 2022 Form
- AIAH Art History Research Grant Recipients 2021
- AIAH Art History Research Grant Acquittal 2021
- AIAH Art History Research Grant Recipients 2020
- AIAH Art History Research Grant Acquittal 2020
- Art Writing and Publishing Awards
- 2022 Prizes
- A shared vision: The Hunter Collection
- After The Australian Ugliness
- Art and Nature in the Anthropocene: Planetary Aesthetics
- ART + CLIMATE = CHANGE II
- Art Writing in Crisis
- Atlas of Maritime Buddhism
- Australia at the Venice Biennale: A Century of Contemporary Art
- Bark Ladies: Eleven Artists from Yirrkala
- Bill Hammond: Across the Evening Sky
- Bogimbah Creek Mission: The First Aboriginal Experiment
- Brett Graham: Tai Moana Tai Tangata
- Camille Henrot
- Carbon Matter(s)
- Choreographing Intersubjectivity in Performance Art
- Dale Harding: There is no before
- Dale Harding: Through a lens of visitation
- David Rosetzky: Composite Acts
- Doing Feminism: Women’s Art and Feminist Criticism in Australia
- Dual/Duel
- Dušan and Voitre Marek: Surrealists at sea
- ECONOMYTHOLOGIES
- European Masterpieces from The Metropolitan Museum of Art, New York
- Fairweather and China
- Fiona Foley Provocateur: An Art Life
- Fiona Foley: Veiled Paradise
- Flesh after Fifty: Changing images of older women in Art
- “Following Kungka Kutjarra,” in Irrititja Kuwarri Tjungu | Past and Present Together: Fifty Years of Papunya Tula Artists
- Frances Burke: Designer of Modern Textiles
- French Impressionism from the Museum of Fine Arts, Boston
- Homework
- It’s not personal: Post 60s body art and performance
- Joanna Margaret Paul – Imagined in the context of a room
- Gabrielle Chanel. Fashion Manifesto
- Golden Shells and Elegant Games of Japan
- Goya: Drawings from the Prado Museum
- Graphic Identities
- Groundwork
- HELLZAPOPPIN’! The Art of Flying Nun
- HG:60
- Hilma af Klint: The secret paintings
- Hybrid
- I always knew you were the shape – an essay about the artwork of Guy Benfield
- Light & Darkness: Late Modernism and the JW Power Collection
- Matisse: Life & spirit, masterpieces from the Centre Pompidou, Paris
- Ngā Tai Whakarongorua | Encounters
- Nicole Ellis: Fabrications
- Out of Place
- Performance Costume: New Perspectives and Methods
- Rita Angus: An Artist’s Life
- Rita Angus: New Zealand Modernist
- Robert MacPherson: Nominal Gestures
- Round About or Inside
- She-Oak and Sunlight: Australian Impressionism
- Source Materials
- Space Practising Tools
- Surrealism
- Surrealist Art | He Toi Pohewa
- Susan Ecker | Subject: Studio
- Tarnanthi
- Te Puna Waiora: The Distinguished Weavers of Te Kāhui Whiritoi
- Tense Past
- The Asian Modern
- The Back of the Painting
- The Color of Modernism
- The Data Imaginary: Fears and Fantasies
- The exhibitionists: a history of Sydney’s Art Gallery of New South Wales
- The image is not nothing (Concrete Archives) Catalogue
- The Lure of the Social – Encounters with Contemporary Artists
- The present moment: The art of Clarice Beckett
- The 10th Asia Pacific Triennial of Contemporary Art (APT10)
- There we were all in one place
- Tree Story
- Uneven Bodies (Reader)
- Victory over Death: The Art of Colin McCahon
- WARWAR: The Art of Torres Strait
- Where Lakes Once Had Water
- William Yang: Seeing and Being Seen
- 2021 PRIZES
- A Sorrowful Act: The Wreck of the Zeewijk
- Agatha Gothe-Snape: The Outcome Is Certain
- Billy Apple® Life/Work
- Cognitive Dissidents: Reasons to be Cheerful
- Italian Modern Art in the Age of Fascism
- Gordon Bennett: Selected Writings
- Hidden Light: Early Canterbury and West Coast Photography
- She Persists: Perspective on Women in Art & Design
- Te Manu Huna a Tāne
- The Australian Art Field: Practices, Policies, Institutions
- Unfinished Business: The Art of Gordon Bennett
- Where Dragon Veins Meet: the Kangxi Emperor and His Estate at Rehe
- 2020 Prizes
- AWAPAs Winners │Highly Commended │Entries 2020
- All men choose the path they walk: Art and the scales of justice
- Apparitions: Photography and Dissemination
- Bonita Ely: Future Tense
- Capturing Nature: Early Scientific Photography at the Australian Museum 1857–1893
- Cosmopolitan: Art from the 1930s in the University of Western Australia Art Collection and the Cruthers Collection of Women’s Art
- Darren Sylvester: carve a future, devour everything, become something
- Edith Amituanai: Double Take
- Eugenia Raskopoulos: Vestiges of the Tongue
- Louise Henderson: From Life
- Melbourne Modern: European Art & Design at RMIT Since 1945
- On the Last Afternoon: Disrupted Ecologies and the Work of Joyce Campbell
- Phone & Spear: a Yuta Anthropology
- Photography and Ontology: Unsettling Images
- Shapes of Knowledge
- Spiritual Journeying: The Art of Tim Johnson
- 2019 prizes
- 2018 Prizes
- 2017 Prizes
- 2016 Prizes
- 2015 Prizes
- 2011 Prizes
- 2010 Prizes
- 2014 Prizes
- 2013 Prizes
- 2012 Prizes
- 2009 Prizes
- 2008 Prizes
Directory
- Directory of Art Historians and Art Researchers in the Asia Pacific Region
Blog Post Image:
the-private-collector-s-museum
Published
November 18, 2020
at
600 × 600
in
the-private-collector-s-museum
Previous
Next
