HIV is still here - and it's on the move For folk who lived through the 1980s, AIDS was an omnipresent gargoyle. The disease was part of the contemporary culture. It had insinuated itself into current affairs stories and commercials, into youth culture, gay culture, tea-room discussions, into jokes, bullying; and into people’s bodies.
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Why would a museum collect 3D printed objects? To answer this question it’s important to think about why museums collect anything at all. Museum collections, on the whole, show a deep, human preoccupation with material culture - the things that surround us.
I am still looking for my chest of gold in a cool dripping sea cave -- though a professional mermaid for the movies, I still wait to see my first real one sitting on a damp grey rock combing her long green hair.1 The exhibition Million Dollar Mermaid: Annette Kellerman features a visual installation projected onto a set, creating an immersive, sensory environment.
Matthew Connell, was lead curator on Out of Hand. Here he discusses his approach to the exhibition with fellow MAAS curator Anni Turnbull. What is the exhibition about? It’s a look at the world of digital manufacturing and an acknowledgement that the digital world is now imposing itself on the material world in a way that breaks down a long standing dichotomy.
Anna Tregloan has designed staging and costumes for a wide variety of independent theatre companies and artists in Australia and overseas. Here she discusses her approach to the exhibition design for Collette Dinnigan: Unlaced with MAAS fashion curator, Glynis Jones.
Have you ever wondered why the Capitol Theatre in Sydney's Haymarket is such a strange design? It was originally a fruit and veggie market! 2016 marks the theatre’s 100th birthday. What a century it’s been, filled with performing seals, elephants, mermaids and now the von Trapp children.
One of the greatest pleasures when developing a museum exhibition is collaborating with a breadth of highly talented creatives. In the case of Collette Dinnigan: Unlaced, Kat Bond and Fil Bartkowiak in our design team collaborated with Stewart Walton, an artist, illustrator and furniture designer based in England to create our paper doll making activity space.
Shirley Martin was a female industrial designer based in Sydney who had a long and illustrious career as a post-WWII Australian textile and ceramic designer. She is best known for designing the 1956 Melbourne Olympic Games towel, but there is much more to her remarkable design industry success story.
From the mid 19th century, wallpapers used in Australia had predominantly been imported from Britain, but also from France, Canada and America. In 1959, Florence Broadhurst decided to buck the trend.
Our Annual Appeal this year is focussed on acquiring the latest collection by Australian fashion label, Romance Was Born. MAAS has a long relationship with Anna Plunkett and Luke Sales, the designers behind the label, as our collection has informed their practice over many years.
While visiting Sydney, German born American design luminary and provocateur Hartmut Esslinger set aside time to visit the Museum for the second time in six months and present his views on design. Convergent design and originality have long underpinned Hartmut’s practice since his early days as founder of Frogdesign.
‘Mouse slippers’, a label from the Powerhouse exhibition The Oopsatoreum, is one of 10 labels honoured in this year’s annual Excellence in Exhibition Label Writing Competition, an international award sponsored by the American Alliance of Museums in partnership with the Museology Graduate Program at the University of Washington, Seattle.