How do you condense a lifetime's dream job as a curator at Sydney's Powerhouse Museum into around 1,000 words? Well, my career at the Museum began on 1 February 1983 as a Research Assistant with the Department of Transport and Engineering when the Powerhouse was still a construction site.
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Dubai-based artists Ramin Haerizadeh, Rokni Haerizadeh and Hesam Rahmanian work collectively to create expansive installations composed of artworks and artefacts. Taking the form of visual poetry by incorporating and disorganising objects from the Powerhouse Museum collection, this project, includes artefacts such as Skylab space debris, a donkey’s hoof, anatomical models, ceramics, and textiles.
How many hands does it take to create a kantha tapestry like this? In this instance, it was the work of eight women embroidering every day for one year. Threading not only a story of traditional motifs, but also the international recognition of an ancient craft and women’s socio-economic emancipation in Bangladesh and West Bengal.
25 August marks the 200th anniversary of the death of inventor James Watt. To mark the occasion, we have invited a guest post by Debbie Rudder, an expert on Watt, to explore his life and scientific contributions.
The Powerhouse Museum collection contains material relating to architecture and the built environment, of local, national and international significance. The collection includes scale models, design archives, plans, drawings, photography and interior fittings, with projects ranging from iconic buildings by award winning, internationally recognised Australian architects Glenn Murcutt, Harry Seidler and John Andrews, to social housing and civic projects of public interest. Architectural models form an important part of the architecture and built environment collection, and the Museum has many fine examples of conceptual, working, and large-scale presentation models that illustrate this craft.
Like many suburbs of Sydney, Pyrmont and Ultimo have undergone significant changes during the last two hundred years. It’s hard to imagine the current peninsula filled with the sounds of quarrying, smoke from iron works and power stations and sweet smells from Colonial Sugar Refinery (CSR).
Last year, we introduced to our readers the first glass and ceramic objects acquired for the MAAS collection with funds from the remarkably generous Barry Willoughby Bequest. We are delighted to share the news about two more recent acquisitions enabled by Willoughby’s passion for Australian studio glass and ceramics as expressed in his will.
On my recent visit to the Sydney Jewish Museum to experience the exhibition Jukebox Jewkbox! A Century on Shellac and Vinyl I was interested in how the Sydney Jewish Museum has explored the technology of recorded music.
I recently had the privilege of seeing the exhibition Jukebox Jewkbox! A Century on Shellac and Vinyl at the Sydney Jewish Museum in Darlinghurst. The exhibition explores the phenomenon of mass-produced music, performance and comedy on the mediums of shellac and vinyl, and the enormous part Jewish people have played, and continue to play in the industry.
"Public space is a great equaliser, and an ancient forum." The placing of posters in public spaces is artist Peter Drew’s way of drawing attention to Australia’s immigration issues and a direct response to the Australian government’s ‘Stop the Boats’ campaign.
After the British settled the colony in the early years from 1788, they struggled to grow enough food to survive. For them, the soil around the settlement was shallow and infertile, rainfall erratic and climate alien.
Poetry Object 2019 RED ROOM POETRY Object is Australia’s largest free poetry writing competition for schools. The competition invites us to think about how the objects in our lives can hold special personal meanings, and to explore capturing these stories in our own words by writing a poem about a chosen talismanic object.