CONTEMPORARY ASIA-PACIFIC ART MUSEUMS: A Bibliography Prepared by Caroline Turner and Michelle Antoinette General Museum References: Nindityo Adipurnomo, ‘Art institution without a museum – a quest’ in CIMAM SEOUL 2004, CIMAM, ICOM, 2005 pp.82-87. American Association of Museums (AAM) Code of Ethics, www.aam-us.org/aamcoe.htm. Artlink, ‘The Long Stare: seeing Contemporary Asian art now’, Vol 20 no 2, essays on women artists. Michael Ames, ‘Biculturalism in exhibitions’, Museum Anthropology, 15:2 (1991), pp.7-15. Michael Ames, Cannibal Tours and Glass Boxes: The Anthropology of Museums, University of British Columbia Press, Vancouver, 1992. Margaret Anderson, ‘Selling the Past: History in Museums in the 1990s’, in John Rickard and Peter Spearitt (eds), Packaging the Past: Public Histories, Melbourne University Press, Melbourne, 1991, pp.130-141. Arjun Appadurai, ‘Disjuncture and Difference in the Global Cultural Economy’, Bruce Robbins, (ed.), The Phantom Public Sphere, University of Minnesota Press, 1993, pp.269-295. Arjun Appadurai and Carol A. Breckenridge, ‘Museums are good to think: heritage on view in India’, in David Boswell and Jessica Evans (eds), Representing the Nation: A Reader, Histories, heritage and museums, Routledge, London and New York, 1999. Arjun Appadurai, and K. Stenou, ‘Sustainable pluralism and the future of belonging’ in UNESCO: World Culture Report 2000, UNESCO, Paris, pp. 111-120. Asia Art Archive. This key on-line catalogue has been developed by the Asia Art Archive research centre in Hong Kong and is dedicated to documenting the recent history of visual art from the region within an international context: http://www.aaa.org.hk/search.asp. Tony Bennett, ‘The Exhibtionary Complex’, in Reesa Grossberg, Bruce W. Ferguson and Sandy Nairne, Thinking about exhibitions, Routledge, London and New York, 1996. Tony Bennett, The birth of the museum: history, theory, politics, Routledge, London & New York, 1995.

1

Tony Bennett, ‘The rules of culture: exhibition and the politics of knowledge.’ Asia in Transition, Japan Foundation Forum, 2002, pp.317-327. Tony Bennett, Pasts Beyond Memory: Evolution, Museums, Colonialism, Routledge, London and New York, 2004. Tony Bennett, ‘Useful Culture’, in David Boswell and Jessica Evans (eds), Representing the Nation: A Reader, Histories, heritage and museums, Routledge, London and New York, 1999. M. Berger, ‘Are Art Museums Racist?’, Art in America, 78:9 (1990), pp.68-75. T. Bevers (ed.), Artists-Dealers-Consumers: on the social world of art, Verloren, Hilvershum, 1994 Rustam Bharucha, ‘Beyond the Box: Problematising the New Asian Museum’, Third Text, Vol 52, Summer, 2000, pp. 11-19. Biennale of Venice website www.labiennale.org. It has a history of the Biennale as well as current information. Iwona Blazwick (ed.), Century City: Art and Culture in the Modern Metropolis, Tate Gallery London, 2001. Reiko Tomii Tokyo 1967-1973, pp. 200-220. René Block (ed.), Das Lied von der Erde / The Song of the Earth, exhibition catalogue, Museum Fridericianum, Kassel, Germany, 2000. Associated with this international exhibition was a conference on the concept and nature of recurrent exhibitions, ‘Biennials in Dialogue’, appropriately held in Kassel – the host city of Documenta. The catalogue contains an interview with René Block, who has been involved with many such exhibitions (including a long involvement with the Biennale of Sydney) and essays on exhibitions in Havana, Istanbul, Johannesburg, Gwangju, Lyon, Pittsburgh, São Paulo and Sydney. The Museum’s website – http://www.fridericianum-kassel.de/ausst/conf-e.html – contains information on this and a subsequent conference, ‘Biennials in Dialogue: exchange or global incest’, held in Frankfurt in 2002. Richard Bolton ed., Culture Wars: Documents from the Recent Controversises in the Arts, New Press, New York, 1992. Mary Bouquet, ‘Strangers in paradise: an encounter with fossil man at the Dutch Museum of Natural History’, in Sharon MacDonald, The politics of display: museums, science, culture, Routledge, New York, 1997. David Boswell and Jessica Evans (eds), Representing the Nation: A Reader, Histories, heritage and museums, Routledge, London and New York, 1999. Alison Carroll ‘Arts Infrastructure and networks in Asia’ in Caroline Turner (ed.), Art and Social Change, Pandanus Press, 2005, pp.542- 553. Dipesh Chakrabarty, ‘Museums in late democracies’, Humanities Research, Vol. IX, 1, 20.

2

Derrick Chong, Arts Management, London and New York, Routledge, 2002. Christine Clark, ‘Distinctive Voices: Artist-initiated spaces and projects’ in Caroline Turner (ed.), Art and Social Change: Contemporary Art in Asia and the Pacific, Pandanus Press 2005, pp. 554-568. John Clark, ‘Modern Asian Art: Its Construction and Reception’, Furuichi Yasuko & Hoashi Aki (eds), Symposium: 'Asian Contemporary Art Reconsidered', The Japan Foundation Asia Center, Tokyo, 1997. John Clark ‘The Contemporary’ in Modern Asian Art, Craftsman House 1998, pp 283-301. James Clifford, ‘On Collecting Art and Culture’, in Out There: Marginalization and Contemporary Cultures, The New Museum of Contemporary Art, New York and MIT Press, Mass., 1990. James Clifford, ‘Museums as Contact Zones’, in David Boswell and Jessica Evans (eds), Representing the Nation: A Reader, Histories, heritage and museums, Routledge, London and New York, 1999. Annie E. Coombes, ‘Inventing the ‘Postcolonial’: Hybridity and Constituency in Contemporary Curating’, in Donald Preziosi ed., The Art of Art History: A Critical Antholgy, Oxford University Press, Oxford and New York, 1998. J. Corner & S. Harvey (ed.), Enterprise and heritage: cross-currents of national culture, London, Routlege, 1991. Gilles Deleuze and Felix Guattari, A Thousand Plateaus: Capitalism and Schizophrenia ; translated by Brian Massumi, University of Minnesota Press, Minneapolis. 1987. Gilles Deleuze, On the line / Gilles Deleuze and Felix Guattari , translated by John Johnston. Semiotext(e): New York, 1983. Donna De Salvo, Past Imperfect: A Museum Looks at Itself, The Parrish Art Museum, Southampton, New York, 1993. Different Voices: A Social, Cultural and Historical Framework for Change in the American Art Museum, American Association of Art Museums, New York, 1992. Douglas Crimp, On the Museum’s Ruins, MIT Press, Cambridge, Mass.,1993. Graeme Davison, ‘National Museums in a Global Age: Observations abroad and reflections at home’ in D. McIntyre, and K. Wehner (eds.), National Museums: Negotiating Histories, National Museum of Australia, Canberra, pp. 12-28. Nelia Dias, ‘The visibility of difference: nineteenth-century French anthropological collections’, in Sharon MacDonald, The politics of display: museums, science, culture, Routledge, New York, 1997.

3

Carol Duncan, ‘The art museum as ritual’, The Art Bulletin, Vol. 77, March 1995, pp. 10-13 Also in Donald Preziosi ed., The Art of Art History: A Critical Antholgy, Oxford University Press, Oxford and New York, 1998. Carol Duncan, Civoilising Rituals: inside public art museums, Routledge, London, 1995. Dynah Dysart and Hannah Fink (eds.), Asian Women Artists, Craftsman House, 1996. Edson, Gary, ‘Ethics and the Profession’, Edson, Gary (Ed.), Museum Ethics, London and New York, Routledge, 1997, pp 18-35. Gary Edson (Ed.), Museum Ethics, London and New York, Routledge, 1997. Albert E. Elsen, ‘Museum blockbusters: assessing the pros and cons’, Art in America, 74:6 (1986), pp.24-7. Elsner, J. & Cardinal, R. eds., The cultures of collecting, Reaktion Books, London, 1994. Jean Fisher (ed.), Global Visions: Towards a New Internationalism in the Visual Arts, Kala Press/inIVA, London, 1994. Flights of Folly, Newsweek, August 12, 2002. Henrietta Fourmile, ‘Respecting our Knowledge’, Humanities Research, (special issue on Indigenous Knowledge), Vol VI1, no. 1, 2000, pp 41-53 (this deals with ecological issues but raises significant questions applicable to museums and community organizations dealing with Indigenous culture). Martin Stuart-Fox, ‘ Individual Freedom Approaching Creative Society’, in Caroline Turner and Rhana Devenport (eds.), Papers from the Conference of the Second Asia-Pacific Triennial, Queensland Art Gallery, 1996, pp.69-70. Néstor García Canclini, ‘Remaking Passports: Visual Thought in the Debate on Multiculturalism’, in Donald Preziosi ed., The Art of Art History: A Critical Antholgy, Oxford University Press, Oxford and New York, 1998. Stephen Greenblatt, 'Resonance and Wonder', in Steven D. Lavine and Ivan Karp (eds.) Exhibiting Cultures: The Poetics and Politics of Museum Display, Smithsonian Institute Press, Washington and London, 1991, pp.43-56. Reesa Grossberg, Bruce W. Ferguson and Sandy Nairne, Thinking about exhibitions, Routledge, London and New York, 1996. Hou Hanru and Hans Ulrich Obrist (eds.), Cities on the Move: Musée d’Art Contemporain Bordeaux, 1997. Elaine Heumann Gurian ‘What is the object of this exercise?’ Humanities Research, Vol. VIII, 1, 2001, pp.25-36.

4

Salah Hassan and Iftikhar Dadi (eds), Unpacking Europe, Nai publishers, Museum Boijmans Van Beuningen Rotterdam, 2001. Amanda Heng, ‘Working as a Woman Artist and Making Projects with a Female Focus’, in Caroline Turner and Morris Low (eds.), Beyond the Future: Papers from the Conference of the Third Asia-Pacific Triennial of Contemporary Art Brisbane, 10-12 September, 1999, Queensland Art Gallery, 1999, pp. 46-48. Elaine Heumann Gurian ‘What is the object of this exercise?’ Humanities Research, Vol. VIII, 1, 2001, pp.25-36. Eilean Hooper-Greenhill, ‘A useful past for the present’, Museums and the Shaping of Knowledge, London and New York, Routledge, 1992, pp. 191-215. Eilean Hooper-Greenhill, ‘Chapter 7: Language and texts’ and ‘Chapter 8: Museums: ideal learning environments’, in Museums and their visitors, Routledge, 1994. Eilean Hooper-Greenhill, ‘Counting visitors or visitors who count?’ in Robert Lumley ed., The Museum time-machine: putting cultures on display, Routledge, London and New York, 1988. Eilean Hooper-Greenhill ed., Museums and the Shaping of Knowledge, London and New York, Routeldge, 1992. Eilean Hooper-Greenhill, Museums and their visitors, Routledge, Chapter Seven ‘Language and texts’, Chapter Eight ‘Museums: ideal learning environments’ 1994. Binghui Huangfu (ed.), ‘Text and Subtext: Contemporary Art and Asian Women Artists’, Earl Lu gallery, Singapore, 2000, pp. 165-176. International Council of Museums (ICOM) www.icom.museum International Council of Museums (ICOM) Code of Ethics for Museums, http://icom.museum/ethics_rev_engl.html Institut für Auslandsbeziehungen http://www.ifa.de/links/kunst/ebiennalen.htmThis is the website of the German Government agency for visual arts exhibitions abroad. It contains one of the most up-to-date lists of current and forthcoming periodic exhibitions, including administrators, curators and websites. International Journal of Museum Management and Curatorship Japan Foundation, Alternatives 2005: Contemporary art spaces in Asia, Tankosha Publishing Co., Ltd, 2004. Japan Foundation, Asia in Transition: representation and identity, The Japan Foundation 30th Anniversary International Symposium 2002, Japan Foundation, Tokyo, 2002.

5

Ivan Karp ‘Introduction: Museums and Multiculturalism’, I. Karp and S.D. Lavine, S. D. 1991. Exhibiting Cultures: The Poetics and Politics of Museum Display, Smithsonian Institution, U.S, pp. 1-9. Ivan Karp and Steven D. Lavine, Exhibiting Cultures: The Poetics and Politics of Museum Display, Smithsonian Institution, Washington and London, 1991. Ivan Karp and Fred Wilson, ‘Constructing the Spectacle of Culture in Museums’, in Reesa Grossberg, Bruce W. Ferguson and Sandy Nairne, Thinking about exhibitions, Routledge, London and New York, 1996. Ivan Karp, Steven D. Lavine and Christine Mullen Kreamer eds., Museums and Communities: The Politics of Public Culture, Washington, D. C., Smithsonian Institution Press, 1992. Gaynor Kavanagh ed., Museum Langauages: Objects and Texts, Leicester University Press, Leicester, 1991. SunJung Kim, ‘Exchanges in Contemporary Art’ in CIMAM SEOUL 2004, CIMAM, ICOM, 2005, pp.54-62. Anne Kirker, The Extended Matrix’, in Caroline Turner (ed.), Art and Social Change: Contemporary Art of Asia and the Pacific, Pandanus Press, 2005, pp. 297-309. Anne Kirker, ‘Introduction, Special Interest Group Lunch: Women Artists and Curators’, in Caroline Turner and Morris Low (eds.), Beyond the Future: Papers from the Conference of the Third Asia-Pacific Triennial of Contemporary Art Brisbane, 10-12 September, 1999, Queensland Art Gallery, 1999, pp. 39-40. Barbara Kirshenblatt-Gimblett, ‘Confusing Pleasures’, in George E. Marcus & Fred R.Myers, The traffic in culture: refiguring art and anthropology, University of California Press, Berkeley, 1995. Barbara Kirshenblatt-Gimblett, ‘Objects of ethnography’, in Ivan Karp and Steven .D. Lavine, Exhibiting Cultures: The Poetics and Politics of Museum Display, Smithsonian Institution, Washington and London,1991. Barbara Kirshenblatt-Gimblett, Destination Culture: Tourism, Museums, and Heritage, University of California Press, Berkeley & Los Angeles, 1998. Rosalind Krauss, ‘The Cultural Logic of the Late Capitalist Museum’, October, 54:3-17. Richard Kurin, ‘Museums and Intangible Heritage: Culture Dead or Alive?’, ICOM News Vol. 57, 4, pp.7-9. Timothy Landers, Jackie McAllister, Catsou Roberts, Benjamin Weil and Marek Wieczorek, The Desire of the Museum, Whitney Museum of American Art, New York, 1992.

6

Ria Lavrijsen ed., Cultural Diversity in the Arts: Art, Art Policies, and the Facelift of Europe, Amsterdam Royal Tropical Institute, 1992. Penelope Layland & Donald Horne, Museums: An Argument with their own Society, National Centre for Australian Studies, Clayton, Vic., 1994. Harrie Leyten and Bibi Damen eds., Art, Antrhopology and the Modes of Re-presentation: Museums and Non-Western Art, Amsterdam, Royal Tropical Institute, 1993. Timothy W. Luke, Shows of Force: Power, Poltiics, and Ideology in Art Exhibtions, Duke University Press, Durham and London, 1993. Robert Lumley ed., The Museum time-machine: putting cultures on display, Routledge, London and New York, 1988. Sharon MacDonald, The politics of display: museums, science, culture, Routledge, New York, 1997. Marie C Malaro, ‘On Trusteeship’ and ‘Why Ethics’, Museum Governance: Mission, Ethics, Policy, Washington and London, Smithsonian Institution Press, 1994, pp. 3-15, 16-21. Marie C Malaro, Museum Governance: Mission, Ethics, Policy, Washington and London, Smithsonian Institution Press, 1994. George E. Marcus & Fred R.Myers, The traffic in culture: refiguring art and anthropology, University of California Press, Berkeley, 1995. Iain McCalman, ‘Museum and Heritage management in the new Economy’, Humanities Research, Vol. VIII, No 1, 2001, pp. 5-15. Timothy Mitchell, ‘Orientalism and the Exhibtionary Order’, in Donald Preziosi ed., The Art of Art History: A Critical Antholgy, Oxford University Press, Oxford and New York, 1998. Damon Moon, ‘Guess Who’s Coming to Dinner? Some Observations on Trans-cultural Curation’, in Hugh O’Neill and Tim Lindsey, AWAS!, Melbourne: Indonesian Arts Society, 1999, pp.11-15. Gerardo Mosquera, ‘Some Problems in Transcultural Curating’, in Jean Fisher (ed.), Global Visions: Towards a New Internationalism in the Visual Arts, Kala Press/inIVA, London, 1994. Bernice Murphy ‘Re-envisioning ICOM: Tasks for Institutional Change’, ASPAC-ICOM September 2000,Vol. 1 and 2. Musée Quai Branly Paris (http://www.quaibranly.fr/sommaire.php3?id_rubrique=20&R=2) Nikos Papagiardis ‘Hybridity and ambivalence’ in CIMAM Seoul 2004 CIMAM, ICOM, 2005m pp. 18-29.

7

Alan Peacock and Ilde Rizzo, Cultural Economics and Cultural Policies, Dordrecht and Boston, Kluwer Academic Publishers, 1994. Susan M. Pearce, Museums, Objects, and Collections: A Cultural Study, Leicester University Press, Leicester, 1992; rep. Smithsonian Institution Press, Washington, D.C., 1993, pp.232-5. Pitt Rivers Museum at Oxford University (http://www.prm.ox.ac.uk/human.html). Apinan Poshyananda, ‘Roaring Tigers, Desperate Dragons in Transition’, in Contemporary Art in Asia: Traditions /Tensions, Asia Society Galleries, New York 1996, pp. 23-53. Apinan Poshyananda, ‘The Future: Post-Cold War, Postmodernism, Postmarginalia (Playing with Slippery Lubricants)’ in Caroline Turner (ed.), Tradition and Change: Contemporary Art of Asia and the Pacific , University of Queensland Press, 1993. Positions, East Asia cultures critique, Special Issue ‘Intersections: Issues in Contemporary Art’, Guest Editor Joan Kee, Vol 12, No 3, Winter 2004. Donald Preziosi, ‘The Art of Art History’, in Donald Preziosi ed., The Art of Art History: A Critical Antholgy, Oxford University Press, Oxford and New York, 1998. Proceedings of 1999 Smithsonian-UNESCO meeting on Safeguarding Traditional Cultures. Jennifer Radbourne and Margaret Fraser, Arts Management: A Practical Guide, St Leonards, Allen & Unwin, 1996. Raiji Kuroda, ‘Practice of Exhibitions in Global Society for Asians, by Asians, and Some Associated’, in Jean Fisher & Institute of International Visual Arts. (eds), Global visions: towards a new internationalism in the visual arts, Kala Press in association with the Institute of International Visual Arts, London, 1994. Niranjan Rajah, ‘Towards a Southeast Asian Paradigm: From Distinct National Modernisms To An Integrated Regional Support for Art’, in ASEAN Committee on Culture and Information & Singapore Art Museum (eds.), 36 Ideas from Asia: Contemporary South-East Asian Art, Singapore Art Museum, Singapore, 2002, pp.26-37. Mari-Carmen Ramirez, ‘Brokering Identities: art curators and the politics of cultural representation’, in Reesa Grossberg, Bruce W. Ferguson and Sandy Nairne, Thinking about exhibitions, Routledge, London and New York, 1996. Mari-Carmen Ramirez, ‘Constellations: Toward a Radical Questioning of Dominant Curatorial Models,’ Art Journal, Vol 59, No 1, 2000. Danielle Rice, ‘Museum education embracing uncertainty’, The Art Bulletin, Vol. 77, March 1995, pp. 15-20. Mary Nooter Roberts et.al., Exhibtion-ism: Museums and African Art, Museum for African Art, New York, 1994.

8

Irit Rogoff, ‘Hit and Run – Museums and Cultural Difference’, Art Journal, Fall, 2002, pp.63-73. Chaitanya Sambrani, Edge of Desire: Recent Art from India (exhibition Catalogue), Asia Society, New York 2005. T.K. Sabapathy, ‘Thoughts on an International exhibition on Southeast Asian Contemporary Art’, in ASEAN Committee on Culture and Information & Singapore Art Museum (eds.), 36 Ideas from Asia: Contemporary South-East Asian Art, Singapore Art Museum, Singapore, 2002. Daniel J. Sherman and Irit Rogoff eds., Museum Culture: Histories, Discourses, Spectacles, University of Minnesota Press, Minneapolis, 1994. Terry Smith, ‘Biennales in the conditions of contemporaneity’, Art & Australia, vol. 42, no. 3, Autumn 2005, pp. 406–15. See the same issue for reviews by Sally Breen on the 2004 Bienal de São Paulo, pp. 386–87, and John Clark on the 2004 Gwangju, Busan and Shanghai Biennales, pp. 388–91. Smithsonian Folklife Festival (http://www.folklife.si.edu). Tatehata Akira ‘‘A Trojan horse?’ Multiculturalism in International Art Exhibitions' in Asia in Transition, Japan Foundation Forum, 2002, pp. 309-316. Third Text: Third world perspectives on contemporary art & culture, Routledge, London. Nicholas Thomas, ‘Contemporary Art and the Limits of Globalisation’, in Caroline Turner and Rhana Devenport (eds.), The Second Asia-Pacific Triennial of Contemporary Art, exhibition catalogue, 1996, pp. 17-18. Caroline Turner, paper ‘Cultural Transformations in the Asia-Pacific’ (comparing the Asia-Pacific Triennial and the Fukuoka Triennale) delivered at the Conference ‘Our Modernities: Positioning Asian Art Now’, Singapore, February, 2004. See the following website: http://www.ari.nus.edu.sg/conf2004/asianart.htm. Caroline Turner (ed.), Art and Social Change: Contemporary Art of Asia and the Pacific, Pandanas Press, 2005. Caroline Turner, review ‘Imagined Workshop’, IIAS Newsletter, November 2002, p. 46. Caroline Turner, ‘Linking past and future: cultural exchanges and cross-cultural engagements in four Asian museums,’ Humanities Research, Vol IX, 1, 2002, pp.13-28. http://www.anu.edu.au/hrc/publications/hr/issue1_2002/print.htm. Caroline Turner (ed.), Tradition and Change: Contemporary Art of Asia and the Pacific, University of Queensland Press, 1993.

9

Caroline Turner and Nancy Sever (eds.), Witnessing to Silence: Art and Human Rights, Drill Hall Gallery and Humanities Research Centre, ANU, 2003. UNESCO website http://www.unesco.org/. UNESCO: World Culture Report 2000: Cultural Diversity, Conflict and Pluralism, UNESCO Publishing, Paris, 2000. http://www.universes-in-universe.de/asia/jpn/english.htm (this website contains very useful information on art museums, events, happenings and links). Lorenzo Veracini and Adrian Muckle, ‘Reflections of Indigenous History inside the National Museum of Australia and Aotearoa New Zealand and outside of New Caledonia’ Centre Culturel Jean-Marie Tjibaou,’ The Electronic Journal of Australian and New Zealand History, 20,12, 2002, http://www.jcu.edu.au/aff/histry/articles/veracini_muckle.htm. Brian Wallis, ‘Selling Nations’, Art in America, Vol 79 (Sept 1991), pp.84-91. Jen Webb, ‘Art in a Globalised State’, in Caroline Turner (ed.) Art and Social Change: Contemporary Art of Asia and the Pacific, Pandanus Press, 2005, pp. 30-43. Jen Webb, ‘The Asia-Pacific Triennial: Synthetics in the making’ (with Tony Schirato), Continuum 14/3 (Special issue: Synthetics), November 2000, pp. 349-58. Stephen E. Weil, ‘The museum and the public’, in Museum Management and Curatorship, Vol. 16, No. 3, pp. 257-271. Stephen E. Weil, Rethinking the Museum, Smithsonian Institution Press, Washington, D.C., 1990. Stephen E. Weil and Earl F Cheit, ‘The Well-managed Museum’, Weil, Stephen E., Rethinking the Museum and Other Meditations, Washington and London, Smithsonian Institution Press, 1990, pp. 69-72. W. Richard West, ‘American museums in the 21st Century’, Humanities Research, Vol. IX, No 1, 2002, pp. 57-62. http://www.anu.edu.au/hrc/publications/hr/issue1_2002/article06.htm Fred Wilson, ‘The Silent Message of the Museum’, in Jean Fisher (ed.), Global Visions: Towards a New Internationalism in the Visual Arts, Kala Press/inIVA, London, 1994. Andrea Witcomb, ‘On the side of the object: an alternative approach to debates about ideas, objects and museums’, Museum Management and Curatorship, Vol. 16, No. 4, pp. 383-399. Lee Yong Woo, ‘Globalism and the vanity of its system,’ Asia in Transition, Japan Foundation Forum, 2002, pp.292-308. Rizki A. Zailani, ‘Notes on a common language of comparison in international art events,’ in Interpellation: cp open biennale 2003, Jakarta: CP Foundation, 2003, pp. 29-35.

10

SEE ALSO CATALOGUES OF THE SHANGHAI, SYDNEY, SAO PAULO, HAVANA, GWANGJU AND BANGLADESH BIENNALES AND INDIAN AND YOKOHAMA TRIENNALES REFERENCES BY COUNTRY: AUSTRALIA AND THE PACIFIC Artlink Special Issue ‘Reconciliation’, Vol. 20 No. 1, 2000. Art AsiaPacific, Special issue ‘Pacific Art’, Vol. 2, No 4, 1995. Artlink, Special Issue ‘Indigenous Arts of the Pacific’, Vol. 16, No 4, Summer, 1996. Art Monthly, Special Issue on Pacific Art, September 1999. Australia Council for the Arts, www.ozco.gov.au. This has information on Australian participation in the Venice Biennale and other international exhibitions. Glen St J. Barclay ‘Geopolitical Changes in Asia and the Pacific’, in Caroline Turner (ed.) Art and Social Change: Contemporary Art of Asia and the Pacific , Pandanus Press, 2005, pp. 14-29. Christine Clark (ed) Echoes of Home: memory and mobility in recent austral-asian art, Museum of Brisbane, Brisbane, 2005. Susan Cochrane ‘Art in Movement Across the Pacific’ in Caroline Turner (ed.), Art and Social Change: Contemporary Art in Asia and the Pacific, Pandanus Press 2005, pp. 446-459. Susan Cochrane, Bérétara, Contemporary Pacific Art, Hallstead Press and Agence de development de la culture kanak, 2001. James Michael Gore, Representations of history and nation in museums in Australia and Aotearoa New Zealand : the National Museum of Australia and the Museum of New Zealand, Te Papa Tongarewa, J. Gore, Australia 2002. Margaret Jolly, ‘On the Edge? Deserts, Oceans, Islands,’ The Contemporary Pacific, 13:2, 2001, pp. 417-466. Lamont Lindstrom, Geoffrey M. White. (eds), Culture, kastom, tradition : developing cultural policy in Melanesi, Institute of Pacific Studies, University of the South Pacific, 1994, Suva, Fiji. Jonathan Mane Wheoki ‘Indigenism and Globalism: ‘First Nation’ Perspectives in the Contemporary Art of Aotearoa/New Zealand and Te Moananui-a-Kiwa/the Pacific,’ in

11

Caroline Turner and Rhana Devenport (eds.), Papers from the Conference of the Second Asia-Pacific Triennial, pp. 32-35. Margo Neale, ‘A Pacific Story, Screw the Rim: We live in the Basin,’ in Caroline Turner and Rhana Devenport (eds.), The Second Asia-Pacific Triennial of Contemporary Art (exhibition catalogue, 1996, pp. 56-57). (Catalogue will be provided at the intensive). Object, Special Issue ‘PacificEye’, No 3, 1997.

Leon Paroissien and Dinah Dysart (eds), Opening transformations: Museum of Contemporary Art, Fine Arts Press, Sydney, 1991.

Nicholas Thomas ‘The dream of Joseph: debates about identity in Pacific art’ and ‘From exhibit to exhibitionism: recent Polynesian presentations of ‘otherness’,’ The Contemporary Pacific 8:291-317; 319-348, 1996. Nicholas Thomas, Oceanic Art, Thames and Hudson Ltd, London, 1995. Nicholas Thomas, Possessions: Indigenous Art/Colonial Culture, Thames and Hudson Ltd, London, 1999. Masahiro Ushiroshoji, ‘Introduction’, in The Birth of Modern Art in Southeast Asia: Artists and Movements, 1997, pp. 217-221. An excellent set of bibliographies on Pacific issues based on courses on Pacific culture at the University of Hawaii can be found on http://library.kcc.Hawaii.edu/external. Mali Voi, ‘Economics and Culture: Review Developmental Policies and Strategies in the Pacific,’ ASPAC-ICOM Bulletin, September 2000, Vols 1 and 2, pp.11-15. AUSTRALIA Pat Hoffie, ‘A new tide turning: Australia in the region 1993-2003’', in Caroline Turner (ed.), Art and Social Change: Contemporary Art of Asia and the Pacific,, Pandanus Press, 2005, pp.516-541.

Asia-Pacific Triennial, Queensland Art Gallery, Brisbane, Australia

Queensland Art Gallery Asia-Pacific Triennial (Website for APT3, 1999): http://www.apt3.net. Queensland Art Gallery, The First Asia-Pacific Triennial of Contemporary Art, ex cat, Queensland Art Gallery, South Brisbane, 1993.

12

Queensland Art Gallery, The Second Asia-Pacific Triennial of Contemporary Art, ex cat, Queensland Art Gallery, Brisbane, 1996.

Queensland Art Gallery, Beyond the future: the third Asia-Pacific Triennial of Contemporary Art, Queensland Art Gallery, Brisbane, 1996.

Charles Green, ‘Beyond the Future: The Third Asia-Pacific Triennial’, Art Journal, New York, Winter 1999, Vol. 58, No. 4, pp. 81-87. Caroline Turner and Morris Low (eds), Beyond the future: papers from the conference of the third Asia-Pacific Triennial of Contemporary Art 1999, Queensland Art Gallery, Brisbane, 2000. Jen Webb, ‘The Asia-Pacific Triennial: Synthetics in the making’ (with Tony Schirato), Continuum 14/3 (Special issue: Synthetics), November 2000, pp. 349-58. National Museum of Australia, Canberra, Australia

Carroll, John, Longes, Richard, Jones, Philip, Australia. Dept. of Communications, Information Technology and the Arts, Rich, Pat Vickers, Review of the National Museum of Australia, its exhibitions and public programs: a report to the Council of the National Museum of Australia, Dept. of Communications, Information Technology and the Arts, Canberra, 2003. Dawn Casey, ‘ Case Study: The National Museum of Australia’ Humanities Research, Vol VIII, No. 1, 2001, pp. 17-23.

Dawn Casey ‘Art and Politics at the National Museum of Australia’, unpublished paper delivered at Conference, Art and Human Rights, HRC, 10 August 2003. Graeme Davison, ‘National Museums in a Global Age: Observations abroad and reflections at home’ in D. McIntyre, and K. Wehner (eds.), National Museums: Negotiating Histories, National Museum of Australia, Canberra, pp. 12-28.

D. McIntyre and K. Wehner, (eds.), National Museums: Negotiating Histories, National Museum of Australia, Canberra, 2001. Stuart MacIntyre and Anna Clark, The History Wars, Melbourne University Press, 2003. National Museum of Australia: www.nma.gov.au(submissions to the recent review of the Museum’s programs and exhibitions): http://www.nma.gov.au/libraries/attachments/review/review_report_20030715/files/552/ReviewReport20030715.pdf National Museum of Australia, Annual report, National Museum of Australia Australian Government Publishing Service, Canberra, 1987- ; Also available as

13

electronic resource Annual report (National Museum of Australia : Online) at http://www.nma.gov.au/about_us/corporate_documents/

Dimity Reed ed., Tangled destinies: National Museum of Australia, Images Publishing Group, Mulgrave, Vic. 2002. Tracking Kultja, National Museum of Australia, Canberra, Australia. Indigenous Issues

Jon Altman, ‘The Indigenous visual arts industry’, Artlink, ‘Reconciliation? Indigenous Art for the 21st century’ ,Vol 20, no 1, pp. pp.86-92. Special Issue ‘Reconciliation’, Artlink, Vol. 20 No. 1, 2000. Roger Benjamin, ‘A new Modernist hero’, in Margo Neale (ed), Emily Kame Kngwarreye: Alhalkere Paintings from Utopia, Queensland Art Gallery and Macmillan, 1998 pp.47-54. Kate Davidson, ‘Fiona Foley: Land Deal’ in Kate Davidson and Michael Desmond (eds.), Islands: Contemporary Installations from Australia, Asia, Europe and America, National Gallery of Australia, 1996, pp. 10-12. Michael Desmond, ‘Ramingining artists: The Aboriginal Memorial’ in Kate Davidson and Michael Desmond (eds.), Islands: Contemporary Installations from Australia, Asia, Europe and America, National Gallery of Australia, 1996, pp. 24-30. Henrietta Fourmile, ‘Respecting our Knowledge’, Humanities Research, (special issue on Indigenous Knowledge), Vol VI1, no. 1, 2000, pp 41-53. Jennifer Isaacs, ‘International Exposure of Aboriginal Art 1970–2001’, Art & Australia, vol. 39, no. 4, Winter 2002, pp. 548–59. The last two pages contains a list, ‘International Aboriginal Art Exhibitions 1970–2001’ compiled by Jennifer Isaacs with the assistance of Djon Mundine, Bernice Murphy, Wally Caruana and Anne Brody. Vivian Johnson, ‘Especially Good Aboriginal Art’, Third Text, 56, Autumn 2001, pp. 33-50. Brian Kennedy, ‘Indigenous Art and Human Rights in Australia Today’ paper presented at the Humanities Research Centre, ANU’s conference ‘Art and Human Rights’, August 2003 (Director’s Comments, http://www.nga.gov.au/Director/Previous/Kennedy/Reconciliation.htm Sylvia Kleinert, ‘Writing Craft/Writing History’ in Humanities Research, (special issue on Indigenous Knowledge), Vol VI1, no. 1, 2000, pp 77-96.

14

Sylvia Kleinert and Margo Neale (eds.), The Oxford Companion to Aboriginal Art and Culture, Oxford, Melbourne and New York, 2000.

Stuart MacIntyre and Anna Clark, The History Wars, Melbourne University Press, 2003.

Doreen Mellor, ‘Artefacts of Memory: Oral History in Archival Institutions’, Humanities Research, Vol. VIII, No 1, 2001, pp. 59-67. Howard Morphy, ‘Seeing Aboriginal Art in the Gallery’, Humanities Research, Vol VIII, no. 1, 2001, pp. 37-50.

Howard Morphy, Aboriginal Art, Phaidon, 1998. Howard Morphy, ‘Style and Meaning: Abelam art through Yolnu eyes’, The Anthony Forge Lecture, RES 47 Anthropology and Aesthetics, Spring 2005pp. 209-230. Philip Morrissey, ‘Lin Onus – Urban Dingo’ Humanities Research, Vol 1, no 1 2000 pp. 103-105. Tom Mosby, ‘Spirituality and the Torres Strait Tradition’, in Caroline Turner and Rhana Devenport (eds.), Papers from the Conference of the Second Asia-Pacific Triennial of Contemporary Art, Brisbane 1996, pp. 86-88. Djon Mundine, ‘Forest of Dreams. Forest of Hope: The Aboriginal memorial, 200 poles’ in Adam Geczy and Benjamin Gennochio (eds.), What is Installation? An Anthology of Writings on Australian Installation, Power publications, Sydney 2001.

Margo Neale, ‘Introduction’, Urban Dingo: The Life and Art of Lin Onus 1948-1996, Craftsman House and Queensland Art Gallery, 2000.

Margo Neale, Pathways 1. Changes and Exchanges: The Indigenous Australian Collection in a Contemporary Context, Queensland Art Gallery, Brisbane, 1995. Margo Neale, ‘The Politics of Visibility: How Indigenous Australian art found its way into Art Galleries’, in Caroline Turner (ed.), Art and Social Change: Contemporary Art in Asia and the Pacific, Pandanus Press 2005, pp. 483-497. Margo Neale, ‘Two Worlds: One Vision’, in Margo Neale (ed.), Emily Kame Kngwarreye: Alhalkere Paintings from Utopia, Queensland Art Gallery and Macmillan, 1998, pp.23-32. Margo Neale, ‘United in the Struggle’, in Sylvia Kleinert and Margo Neale (eds.), The Oxford Companion to Aboriginal Art and Culture, Oxford, Melbourne and New York, 2000, pp 267- 277.

15

Margo Neale ‘Without the story the painting is nothing’, in Caroline Turner and Morris Low (eds.), Beyond the Future: Papers from the Conference of the Third Asia-Pacific Triennial of Contemporary Art 1999, Queensland Art Gallery, 2000, pp.83-87. Peter Read, ‘Reconciliation, Trauma and the Native Born’, Humanities Research, Vol IX, no. 1, 2002, pp.29-35.

Gaye Sculthorpe, ‘Exhibiting Indigenous histories in Australian museums’ in D. McIntyre, and K. Wehner, (eds.), National Museums: Negotiating Histories, National Museum of Australia, Canberra, 2001, pp. 73-84. Lorenzo Veracini and Adrian Muckle, ‘Reflections of Indigenous History inside the National Museum of Australia and Aotearoa New Zealand and outside of New Caledonia’s Centre Culturel Jean-Marie Tjibaou’, The Electronic Journal of Australian and New Zealand History, 20,12, 2002, http://www.jcu.edu.au/aff/history/articles/veracini_muckle.htm Other

www.biennaleofsydney.com.au contains a summary of all Biennales of Sydney, with comments by each artistic director. National Gallery of Australia: www.nga.gov.auBennett, Tony, Art galleries : who goes? : a study of visitors to three Australian art galleries, with international comparisons (prepared for the Australia Council by Tony Bennett and John Frow on behalf of the Institute for Cultural Policy Studies, Division of Humanities, Griffith University), Australia Council, Redfern, NSW, 1991. Leon Paroissien, ‘The Biennale of Sydney: A partisan view of three decades’, Art & Australia, vol. 41, no. 1, Spring 2003, pp. 60–69. Margaret Plant, ‘Sydney Biennales’, Art & Australia, vol. 26, no. 2, Summer 1988, pp. 254–63. Stephen Naylor, ‘Australia’s representation in the Venice Biennale’, Art & Australia, vol. 40, no. 4, Winter 2003, pp. 594–601.

PACIFIC

Pacific Festival Festival of Pacific Arts, Taeao fou i mea sina: the First Pacific Festival Contemporary

Arts Exhibition, September 12-20, 1996, Office of the 7th Pacific Festival of Arts, Apia, Western Samoa, c1996.

16

Association for the 4th Pacific Festival of Arts in New-Caledonia, Pacific 2000, Association for the 4th Pacific Festival of Arts in New Caledonia, Noumea, New Caledonia, 1984. 7th Pacific Festival of Arts, 1996, Apia, Western Samoa, September 8-23 : official

programme / [research & writing, Judy Johns ... [et al.] ; editing, Apulu Lance Polu, Mandy Whyte], Pacific Festival of Arts, Apia, Western Samoa, 1996.

Pacific Wave Pacific wave: festival of contemporary pacific arts / 13-29 November 1998, Festival of

contemporary Pacific arts, Pacific Wave, Sydney, 1998. Pacific wave catalogue / Casula Powerhouse Arts Centre, Casula Powerhouse Arts

Centre, Casula, N.S.W. 1996.

Fiji

Fiji Museum (http://www.fijimuseum.org.fj/)

D Brennan, ‘The National Museum of Fiji, A Thumbnail Sketch’, Museum, 42 (1): 34-34 1990.

Fergus Clunie, Yalo i Viti : shades of Fiji : a Fiji museum catalogue/; photographs

by Julia Brooke-White, Fiji Museum, Suva, 1986.

Fjji Museum, Highlights of the collection of the Fiji Museum: a photographic catalogue / photographs, Thomas A. Hill ; compiled by Sara J. Wolf, Fiji Museum, Suva, 1980.

E Maidment, ‘Fiji Museum Archives and Manuscripts Collection’, Journal of

Pacific History, 36 (2): 237-246 Sep 2001. New Caledonia

Jean-Marie Tjibaou Cultural Centre, Noumea, New Caledonia Centre Jean-Marie Tjibaou, New Caledonia Website: http://membres.lycos.fr/archibois/tji1.htm

Emanuel Kasarherou, ‘The Tjbaou Centre in Noumea’ in Caroline Turner and Morris Low (eds.), Beyond the Future: Papers from the Third Asia-Pacific Triennial Conference, 1999, pp. 157-158.

Bernice Murphy, ‘Centre Culturel Tjibaou: a museum and arts centre redefining New Caledonia’s cultural future,’ Humanities Research, Vol. IX, 1, 2002, pp. 77-90.

Tjibaou Cultural Centre, Ngan jila centre culturel Tjibaou ; ADCK, Nouméa, New Caledonia c1998.

17

Octave Togna, Ngan jila : Centre culturel Tjibaou : the memory, the voice, the dream, Tjibaou Cultural Centre.

New Zealand

Museum of New Zealand, Te Papa Tongarewa, Wellington, New Zealand Te Papa Tongarewa Website: http://www.tepapa.govt.nz

Pete Bossley, Te Papa: an architectural adventure, Te Papa Press, Wellington [N.Z.], 1998.

Museum of New Zealand, Speaking with authority: scholarship and matauranga at

the Museum of New Zealand Te Papa Tongarewa - a strategy, Board of the Museum of New Zealand, Wellington, N.Z., 1996. Museum of New Zealand, Making the museum: a review of achievements, 1995/96,

Museum of New Zealand, Wellington, N.Z., 1997.

The designing of Te Papa: Architecture New Zealand examines Te Papa's concepts design structure, AGM Pub., Auckland, N.Z., 1998.

Museum of New Zealand, Past presents : looking into the art collection : Museum of

New Zealand, Te Papa Tongarewa, 4 May 2002 - late 2003, Museum of New Zealand Te Papa Tongarewa, Wellington, N.Z., 2002.

Paul Harvey Williams, New Zealand's identity complex : a critique of cultural practices

at the Museum of New Zealand Te Papa Tongarewa, 2003. Auckland Museum (http://www.akmuseum.org.nz/) Auckland Art Gallery (http://www.aucklandartgallery.govt.nz/) Robert Leonard, Bernice Murphy, Museum of Contemporary Art Sydney & Mary Barr (eds.), Headlands: Thinking Through New Zealand Art, Museum of Contemporary Art Sydney, 1992, Curators Robert Leonard and Bernice Murphy. Jonathan Mane-Wheoki, ‘ He Kahui Whetu Hou Contemporary Maori artists: A new Constellation’, in Caroline Turner (ed.), Art and Social Change: Contemporary Art in Asia and the Pacific, Pandanus Press 2005, pp. 498-513. Jonathan Mane Wheoki ‘Indigenism and Globalism: ‘First Nation’ Perspectives in the Contemporary Art of Aotearoa/New Zealand and Te Moananui-a-Kiwa/the Pacific’, in Caroline Turner and Rhana Devenport (eds.), Papers from the Conference of the Second Asia-Pacific Triennial, pp. 32-35.

18

Paul Tapsell (Te Arawa), ‘Taonga, Marae, Whenua - Negotiating Custodianship: A Maori tribal response to the Museum of New Zealand’ in D. McIntyre and K. Wehner, (eds.), National Museums: Negotiating Histories, National Museum of Australia, Canberra, 2001, pp 112-121. Papua New Guinea Susan Cochrane, Contemporary Art in Papua New Guinea, Craftsman Press, Sydney, 1997. Michael Mel, ‘Papua New Guinea Culture: Perceptions and Realities’, in Caroline Turner and Rhana Devenport (eds.), Papers from the Conference of the Second Asia-Pacific Triennial of Contemporary Art, Brisbane 1996, pp. 53-55. Wright, Christina, Where the spirits meet: a history of the National Museum and Art Gallery, Waigani, Papua New Guinea, Charles Sturt University, Bathurst, N.S.W 1998. Vanuatu Program: Mini Nasonal Art Festival, National Museum of Vanuatu, Port Vila, Vanuatu 1995.

Vanuatu Cultural Center Vanuatu Cultural Centre: http://arts.anu.edu.au/arcworld/vks/vks.htm

EAST ASIA Ren, Hai, Economies of culture [microform] : theme parks, museums and capital accumulation in China, Hong Kong and Taiwan, 1998. China Asia Art Archives (Hong Kong) http://www.aaa.org.hk/index.html Artlink Special Issue, ‘The China Phenomenon’, Vol. 23, No. 4, 2003. Geremie Barmé, ‘Artful Marketing’, in Inside Out: New Chinese Art, National Gallery of Australia, 2000. Britta Erickson, ‘The Rise of a Feminist Spirit in Contemporary Chinese Art’, Art AsiaPacific, Issue 31 2001 (China), pp. 65-71. Capon, Joanna, Guide to museums in China, Orientations Magazine, Hong Kong, 2002. China Avant Garde website: http://www.china-avantgarde.com/

19

John Clark, (ed.), Chinese Art at the End of the Millennium, New Art Media Limited, Hong Kong, 2000. http://www.newchineseart.com/ Wu Hung (ed.), Chinese Art at the Crossroads: Between Past and Future, Between East and West, INIVA and New Art Media, Hong Kong, 2001. Wu Hung, ‘The 2000 Shanghai Biennale: The making of an historical event’, Art AsiaPacific, Issue 31 2001 (China), pp. 42-49. Linag Jh, ‘Museum Training in China’, Museum 39 (4) pp. 291-295, 1987. Charles Merewether ‘The Spectre of being human’ in Caroline Turner (ed.), Art and Social Change: Contemporary Art in Asia and the Pacific, Pandanus Press 2005, pp.101-143. Gao Minglu et al, Inside Out: New Chinese Art, San Francisco Museum of Modern Art and Asia Society Galleries, New York, University of California Press, 1998 (article by *Gao Minglu ‘Towards a Transnational Modernity’, pp. 15-40 supplied). Peter Stanbury ed., Museums in China : a report by the delegation from the Museums Association of Australia that visited the Peoples Republic of China in September 1981, Museums Association of Australia, Sydney, 1982. Xu Hong, ‘Chinese Art’ in Caroline Turner (ed.), Art and Social Change: Contemporary Art in Asia and the Pacific, Pandanus Press 2005, pp. 330-359. Wu Hung, ‘A Chinese Dream by Wang Jin’, Arjun Appadurai (ed.), Globalization, Duke University Press, Durham and London, 2001, pp. 114-130. Yishu: Journal of Contemporary Chinese Art http://www.yishujournal.com/archives.htm

National Museum, China Shao Q, ‘Exhibiting the modern: The creation of the first Chinese museum,

1905-1930’, CHINA QUARTERLY (179): 684-702 SEP 2004.

Shanghai Museum, Shanghai, China

Queensland Art Gallery and Shanghai bo wu guan, Treasures from the Shanghai Museum Queensland Art Gallery, Brisbane, 1990.

Shanghai bo wu guan, Masterworks of Shanghai School painters from Shanghai

Museum collection, China, 1991.

Shanghai bo wu guan, Shanghai Museum, The Museum, Shanghai, ca 2000.

20

Shanghai Museum: http://www.shanghaimuseum.net/ (Chinese; English version does not appear to work. However, extensive information is available on the web).

ZHOU Z, Reopening of the Shanghai Museum, Peoples Republic of China,

ORIENTAL ART 42 (1): 59-62 SPR 1996.

Shanghai Art Museum, Shanghai http://www.echinaart.com/GALLERY/ShanghaiArtMuseum.htm

Shen Zhiyu ed., The Shanghai Museum of Art, H.N. Abrams, New York, 1983, c1981.

Yang, Liu, Fantastic mountains: Chinese landscape painting from the Shanghai Museum = Ling Shan: Shanghai Bo Wu Guan cang Zhong Guo Ming Qing shan shui hua / Liu Yang with Edmund Capon and Stephen Little, Art Gallery of New South Wales, Sydney, 2004.

Shanghai Biennale, Shanghai Art Museum, Shanghai, China

Cohen JL, ‘Shanghai Biennale 2000’, ARTNEWS 100 (3): 164-164 MAR 2001. Fan G., ‘The Shanghai Biennale 2000, Shanghai Art Museum, 6-November

to 6-January 2001 (A report)’, ORIENTAL ART 47 (1): 70-74 2001. Wu Hung, ‘The 2000 Shanghai Biennale: The making of an historical event’,

Art AsiaPacific, Issue 31 2001 (China), pp. 42-49. Vine R, ‘The wild, wild East: First-ever Guangzhou Triennial and the fourth

Shanghai Biennale, in their concurrent runs, caught the energy of the entrepreneurial New China and its art,’ ART IN AMERICA 91 (9): 40+ SEP 2003. Withers R, ‘Shanghai Biennale, ARTFORUM 41 (1): 103-103 SEP 2002

Yishu: Journal of contemporary Chinese art, Yishu Vancouver, B.C.; Art & Collection, Ltd., Taipei. Japan Tatehata Akira ‘A Trojan horse?’ Multiculturalism in International Art Exhibitions' in Asia in Transition, Japan Foundation Forum, 2002, pp. 309-316. Eriko Osaka, ‘A Perspective from Japan’, in Caroline Turner and Morris Low (eds.), Beyond the Future: Papers from the Conference of the Third Asia-Pacific Triennial of Contemporary Art Brisbane, 10-12 September, 1999, Queensland Art Gallery, 1999, pp. 43-44. Japanese National Committee for ICOM (eds), Museums in Japan, Maruzen, Tokyo 1980. Catherine Maxwell, ‘Indigenous peoples of Japan: The Ainu’, Across the Sea, Japan Cultural Centre Sydney (Japan Foundation), No 49, July 2003, p.8.

21

Tessa Morris Suzuki, ‘Truth, postmodernism and historical revisionism in Japan’, Inter-Asia Cultural Studies, Volume 2, Number 2, 2001 pp 297-305. Alexandra Munroe, Japanese art after 1945: Scream against the Sky, Harry N. Abrams, New York, 1994. Reiko Tomii, ‘Tokyo 1967-1973’ in Iwona Blazwick (ed.), Century City: Art and Culture in the Modern Metropolis, Tate Gallery London, 2001, pp. 200-220. Caroline Turner, ‘The Engima of Japanese Contemporary Art’ in Caroline Turner (ed.), Art and Social Change: Contemporary Art in Asia and the Pacific, Pandanus Press 2005, pp. 385- 430. Caroline Turner, ‘Transcending time: the enigma of Japanese contemporary art’ in Artlink special issue The long stare, Vol. 20. No. 2, July 2000, pp.38-41.

Ainu Museums, Hokkaido http://www.ainu-museum.or.jp/english/english.html

Mozuna K, ‘Ainu Ethnic Museum’, Japan Architect 58 (1): 33-38 1983.

Art Tower Mito

Art Tower Mito (Mito Japan): http://www.arttowermito.or.jp

Mito Geijutsukan. Gendai Bijutsu Sent¯a, Exhibitions and events 1999-2001 / Contemporary Art Center, Art Tower Mito, Contemporary Art Center, Art Tower Mito, Japan 2002.

Fukuoka Asian Art Museum

Fukuoka Asian Art Museum References: (and Catalogues of the Asian Art exhibitions, Fukuoka Art Museum to 1999). Fukuoka Triennale Fukuoka Triennale Website: http://faam.city.fukuoka.jp/faam/e/a_trien2.htmFukuoka Asian Art Museum, The First Fukuoka Asian Art Triennale, Fukuoka, 1999. Fukuoka Asian Art Museum, The Second Fukuoka Asian Art Triennale, Fukuoka, 2002.

M. A. Greenstein, ‘1st Asian Triennale: Fukuoka Asian Art Museum, Japan,’ Art & Text, No 66, 1999, pp.89-90 Masahiro Ushiroshoji, ‘Emergence of an Art Gallery’, in Furuichi Yasuko &

Hoashi Aki (eds), Symposium: 'Asian Contemporary Art Reconsidered', The Japan Foundation Asia Center, Tokyo, 1997.

Hara Museum

Hara Museum of Contemporary Art (Tokyo): www.haramuseum.or.jp Human Rights Museum, Osaka

http://www.liberty.or.jp/index.html

22

Mori Museum

Mori Art Museum (Tokyo): http://www.mori.art.museum Pollack, B, ‘Art above the city of Tokyo: Located atop a skyscraper, the Mori

Art Museum opened with a thematic show of works from East and West, past and present’, ART IN AMERICA 92 (5): 99-+ MAY 2004. Itoi K, ‘The towering museum - hoping to create a new audience for

contemporary art in Japan, developer Minoru Mori builds a new venue for art atop a Tokyo high-rise’, ARTNEWS 102 (9): 62+ OCT 2003.

Museum of Contemporary Art, Tokyo

MOT Museum of Contemporary Art Tokyo: http://www.mot-art-museum.jp/eng/

National Museum of Ethnology (Minpaku), Osaka, Japan National Museum of Ethnology Minpaku Website: http://www.minpaku.ac.jp/english/ Guide to the National Museum of Ethnology: The Museum, Osaka, Japan 1991.

Kokuritsu Minzokugaku Hakubutsukan. Bulletin of the National Museum of Ethnology, 1976-

http://www.kisho.co.jp/WorksAndProjects/Works/minzoku/

Shigeharu Sugita, ‘Toward a Digital Museum - Experiments at the National Museum of Ethnology, Osaka, Japan.’ Paper presented for the International Conference on Multimedia for the Humanities. http://www.ignca.nic.in/clcnf090.htm (Accessed 08/03/2005).

National Museum of Japanese History, Sakura

http://www.rekihaku.ac.jp/ Sawada, K, ‘National Museum of Japanese History’, SEN-I GAKKAISHI 58 (11):

P295-P297 NOV 2002 Ashihara, Y, ‘National Museum of Japanese History’, JAPAN ARCHITECT 58 (6):

9& 1983

Setagaya Museum http://www.setagayaartmuseum.or.jp/main_e.htm

Lufty, C., ‘Eclecticism in the Arty Ward + the Setagaya-Museum, Tokyo’, ARTNEWS

90 (3): 106-107 MAR 1991. Uchii, S., ‘The Setagaya Art Museum’, JAPAN ARCHITECT 62 (1): 10-17 JAN

1987. National Museum of Modern Art, Tokyo: http://www.momat.go.jp/english_page/index_e.html

23

Setagaya Art Museum (Tokyo): http://www.setagayaartmuseum.or.jp/main_e.htm Yokohama Triennale (http://www.jpf.go.jp/yt2001/en/). Korea Soyeon Ahn, ‘The Korean Art Scene for Women Artists’, in Caroline Turner and Morris Low (eds.), Beyond the Future: Papers from the Conference of the Third Asia-Pacific Triennial of Contemporary Art Brisbane, 10-12 September, 1999, Queensland Art Gallery, 1999, pp. 40-41. Soyeon Ahn, ‘Korean Contemporary Art Opens Towards Polyphonic Voices as Cultural Criticism’, in Caroline Turner (ed) Art and Social Change, Pandanus Press 2005, pp. 431-444. Gwangju Biennale catalogues Hong hee Kim, ‘Alternative Space: A new Phenomenon in Korea and Other Asian Countries’ in CIMAM SEOUL 2004, CIMAM, ICOM, 2005, pp. 70-80. Kungnip Chungang Pangmulgwan (Korea), National Museum of Korea, Seoul, c1991. National Museum of Korea ed., Museum directory of Korea, Tong-Chun Moonhwa Pub. Co., Seoul, Korea, 1988 National Museum of Korea ed., Selected treasures of national museums of Korea, Samhwa Publishing Co., Seoul, Korea, 1985,c1989.

Leeum Samsung Museum http://www.leeum.org/eng/main.asp

National Museum of Contemporary Art Korea

National Museum of Contemporary Art Korea: http://www.moca.go.kr/Modern/eng/

Samsung misulgwan yeongu nonjip (Journal of the Samsung Museum of Modern Art)

Taiwan Kaohsiung Museum of Fine Art, 1996, Kaohsiung, Taiwan : The Museum, 1996 Neil Webb ed., Taiwan arts directory, Visiting Arts, London, c2000. Wu Mali, ‘About My Work’, in Caroline Turner and Morris Low (eds.), Beyond the Future: Papers from the Conference of the Third Asia-Pacific Triennial of Contemporary Art Brisbane, 10-12 September, 1999, Queensland Art Gallery, 1999, pp. 48-51

24

Museum of Contemporary Art, Taiwan

http://www.mocataipei.org.tw/_english/1_about/5_contribute.html Taipei Fine Arts Museum, http://www.tfam.gov.tw/english/index.asp

National Palace Museum, Taipei: www.npm.gov.tw

National Taiwan Museum: www.ntm.gov.tw

Council for Cultural Affairs, Taiwan: http://museum.cca.gov.tw/about/about.html

Taipei Biennale Yishu reference

SOUTH ASIA India Deepak Ananth, ‘Vivan Sundaram’, in Caroline Turner and Rhana Devenport (eds.), The Second Asia-Pacific Triennial of Contemporary Art (exhibition catalogue) 1996, p. 102. Arjun Appadurai and Carol A. Breckenridge, ‘Museums are good to think: heritage on view in India’, in David Boswell and Jessica Evans (eds), Representing the Nation: A Reader, Histories, heritage and museums, Routledge, London and New York, 1999. Asia-Pacific Triennial 1999 website www.apt3.net ‘Sonabai’ Rustam Bharucha, ‘Beyond the Box: Problematising the New Asian Museum’, Third Text, Summer, 2000, pp. 11-19. V.P. Dwivedi ed., Museums and museology : new horizons : essays in honour of Dr. Grace Morley on her 80th birthday, Agam, Delhi, 1980. Paul Greenough, ‘Nation, Economy, and Tradition Displayed: The Indian Crafts Museum, New Delhi’, Carol A. Breckenridge (ed.), Consuming Modernity: Public Culture in a South Asian World, University of Minnesota Press, 1993, pp 216 –248. G.N. Pant, Museum and tourism : proceedings of All India Museums Conference, 1985, Bhubaneswar, Museums Association of India, New Delhi, 1985 H. Sarkar. Museums and protection of monuments and antiquities in India, Sundeep, Delhi, 1981. Jyotindra Jain, ‘Cultural Transformations and the Recasting of Imagery in India’, Caroline Turner and Morris Low (eds.), Beyond the Future: Papers from the Conference of the Third Asia-Pacific Triennial of Contemporary Art 1999, Queensland Art Gallery, 2000, pp.80-82.

25

Jyotindra Jain, ‘Sonabai’, in Caroline Turner, Rhana Devenport and Jen Webb (eds.), Beyond the Future: The Third Asia-Pacific Triennial of Contemporary Art’, Queensland Art Gallery 1999, p.222. Jyotindra Jain (ed.), Other masters: five contemporary folk and tribal artists of India, New Delhi: Crafts Museum and Handicrafts and Handlooms Export Corp. of India 1998. Geeta Kapur, ‘A Stake in Modernity: Brief history of contemporary Indian art’, in Caroline Turner (ed.), Art and Social Change: Contemporary Art of Asia and the Pacific, Pandanas Press, 2005. Geeta Kapur, ‘Dismantled Norms: Apropos other Avantgardes’, in Caroline Turner (ed.), Art and Social Change: Contemporary Art of Asia and the Pacific, Pandanus Press, 2005, pp.46-100.

Crafts Museum, Delhi, India Crafts Museum India website: http://www.crafts-museum.com/

National Museum of India, New Delhi

National Museum of India, New Delhi Website: http://www.nationalmuseumindia.org/

Pakistan Salima Hashmi, ‘Contemporary Practice by Pakistani Women Artists’, in Caroline Turner and Morris Low (eds.), Beyond the Future: Papers from the Conference of the Third Asia-Pacific Triennial of Contemporary Art Brisbane, 10-12 September, 1999, Queensland Art Gallery, 1999, pp. 44-46. SOUTH-EAST ASIA Indonesia Bandung Centre for New Media Arts: http://www.translingual.org/ Cemeti Art House: http://www.cemetiarthouse.com/english/

Cemeti Art House, 15 years Cemeti Art House : exploring vacuum, 1988-2003, 2000 Mella Jaarsma, ‘Art is an Unstable System: Cemeti Art House, Yogyakarta, Indonesia’

in 1aspace, in-between international community-initiated art space, Hong Kong: 2002, p. 66-68

Christine Clark, ‘Dadang Christanto: Keeper of Memories’, in Caroline Turner and Nancy Sever (eds.), Witnessing to Silence: Art and Human Rights, Drill Hall Gallery and Humanities Research Centre, ANU, 2003, pp. 52-55.

26

CP Open Biennale 2003: http://www.cp-foundation.org/openbiennal/index.html M. Dwi Marianto, ‘Arahmaiani’, in Caroline Turner and Rhana Devenport (eds.), The Second Asia-Pacific Triennial of Contemporary Art (exhibition catalogue), 1996, p. 81. International Symposium on the Role of Museums in Society, (1997: Jakarta, Indonesia), Museum Nasional, Jakarta 1997. Muhammad Husni ed., Directory of museums in Indonesia, Department of Education and Culture, Directorate General for Culture, Directorate of Museums, Jakarta, 1999 Mella Jaarsma, ‘Art is an Unstable System: Cemeti Art House, Yogyakarta, Indonesia’ in 1aspace, in-between international community-initiated art space, Hong Kong: 2002, pp. 66-68. Jim Supangkat, ‘Art and Politics in Indonesia’, in Caroline Turner (ed.), Art and Social Change: Contemporary Art in Asia and the Pacific, Pandanus Press 2005, pp. 218-227. Caroline Turner, ‘Indonesia: Art, freedom, human rights and engagement with the West’ in Caroline Turner (ed.), Art and Social Change: Contemporary Art in Asia and the Pacific, Pandanus Press 2005, pp. 196-217.

The Indonesian National Museum http://www.museumnasional.org/

Hardiati ES, ‘Precious collections of the National Museum, Indonesia – Introduction,’ ARTS OF ASIA 33 (5): 44-47 SEP-OCT 2003 Ernawati W, ‘Ethnographic collection of the National Museum, Indonesia,’

ARTS OF ASIA 33 (5): 98-104 SEP-OCT 2003 Malaysia Michelle Antoinette, ‘Different Visions: Contemporary Malaysian art and exhibition in the 1990s and beyond’, in Caroline Turner (ed.), Art and Social Change: Contemporary Art in Asia and the Pacific, Pandanus Press 2005, pp. 229-252 Lee Weng Choy, ‘Local coconuts: Simryn Gill and the Politics of Identity’, Art AsiaPacific, No. 16, 1997, pp. 56-63. Malaysia Tourism Promotion Board, Museums of Malaysia, Malaysia Tourism Board, Kuala Lumpur, 1994. Malaysia. Kementerian Kebudayaan, Kesenian dan Pelancongan, Kuala Lumpur: museums, memorials, art galleries & craft centers. Tourism Malaysia, Ministry of Culture, Arts & Tourism, Kuala Lumpur, 1999

National Museum of Malaysia

27

http://www.museum.gov.my/english/home.htm

Shahrumbinyub, D., ‘The National Museum of Malaysia,’ Arts of Asia 12 (5): 60-69 1982

The Philippines Alice G. Guillermo, ‘Brief Survey of Philippine Art’, in Caroline Turner (ed.), Art and Social Change: Contemporary Art of Asia and the Pacific, Pandanus Press, 2005, pp. 253-266. Pat Hoffie, ‘Santiago Bose: Magic, Humour and Cultural Resistance’, in Caroline Turner and Nancy Sever (eds.), Witnessing to Silence: Art and Human Rights, ANU Drill Hall Gallery and ANU Humanities Research Centre, 2003, pp. 65-67. Museum quarterly, Museo ng Malacañang, Manila, Philippines. Rosario B. Tantoco ed., Directory of museums in the Philippines, National Museum, Manila, Philippines 1984. Emmanuel Torres, ‘The Pinoy Visual Artist & the Asia-Pacific Century’, in Pananaw: Philippine Journal of Visual Arts, Vol. 1, No.1, pp.10-19.

National Museum of the Philippines, Manila, the Philippines National Museum of the Philippines Website: http://members.tripod.com/philmuseum/index Maria Elena Paterno, Treasures of the Philippine National Museum, Bookmark, Makati City, c1995. National Museum papers, National Museum: Concerned Citizens for the National Museum, Inc., Manila, Philippines, 1990.

Singapore Lee Weng Choy, ‘Singapore: LEE Wen’, in Caroline Turner, Rhana Devenport and Jen Webb (eds.), Beyond the Future: The Third Asia-Pacific Triennial of Contemporary Art, Queensland Art Gallery, Brisbane, 1999, p.130. Singapore National Heritage Board http://www.museum.org.sg/MCC Caroline Turner and Glen St J. Barclay, ‘Singapore – a case study’ in Caroline Turner (ed.), Art and Social Change: Contemporary Art in Asia and the Pacific, Pandanus Press 2005, pp. 267-277.

28

Asian Civilisations Museum, Singapore http://www.nhb.gov.sg/acm/acm.shtml

Kwok K, ‘Asian Civilisations Museum, a national museum - Introduction’, ARTS OF ASIA 32 (6): 44-52 NOV-DEC 2002. Lau A, ‘At the museums (The Asian-Civilisations-Museum opens in the historic

precent of Empress-Place in Singapore)’, ORIENTAL ART 49 (1): 65-68 2003. Lee CL, Tan S, ‘Asian Civilisations Museum, a national museum - China Gallery’,

ARTS OF ASIA 32 (6): 63-70 NOV-DEC 2002. Singapore Art Museum

Kwok Kian Chow, SAM is not a Foreign Name, Furuichi Yasuko & Hoashi Aki (eds), Symposium: 'Asian Contemporary Art Reconsidered', The Japan Foundation Asia Center, Tokyo, 1997. Singapore Art Museum: http://www.nhb.gov.sg/SAM Singapore Art Museum, Imaging Selves: Singapore Art Museum Collection

Exhibition Series, 1998-1999, Singapore Art Museum, Singapore, 1998. Singapore History Museum, Singapore

http://www.nhb.gov.sg/SHM focas: Forum on Contemporary Art and Society, a non profit initiative edited by Lucy Davis under the auspices of the Substation ‘that engages issues of contemporary art, politics and social change’ primarily in Singapore and Southeast Asia. Thailand Chumpon Apisuk ‘The Artist and the Social Dimension in Thailand’, in Caroline Turner and Rhana Devenport (eds.), Papers from the Conference of the Second Asia-Pacific Triennial, Queensland Art Gallery, 1996, pp.67-68. Sarah Tiffin, ‘Montien Boonma: Between the Temple and the Temporal’, Fourth Asia-Pacific Triennial of Contemporary Art, Queensland Art Gallery, 2002, pp. 38-41 Somporn Rodboon, ‘Developments in Contemporary Thai Art’, in Caroline Turner (ed.), Art and Social Change: Contemporary Art of Asia and the Pacific, Pandanus Press, 2005, pp. 278-296 Somporn Rodboon, ‘Contemporary Women Artists in Thailand’, in Caroline Turner and Morris Low (eds.), Beyond the Future: Papers from the Conference of the Third Asia-Pacific Triennial of Contemporary Art Brisbane, 10-12 September, 1999, Queensland Art Gallery, 1999, pp. 41-43. Vietnam Museum of Ethnology, Hanoi http://www.kit.nl/frameset.asp?/objectid/html/ethnology_museum.asp&frnr=1&

29

Amareswar Galla, ‘Culture and Heritage Development: Ha Long Ecomuseum, A Case Study from Vietnam’, Humanities Research, Vol IX, No 1, 2002, pp. 63-76. Http://www.anu.edu.au/hrc/publications/hr/issue1_2002/article07.htm Howard MC, Vietnam's new Museum-of-Ethnography, ARTS OF ASIA 29 (4): 130-132 JUL-AUG 1999. Dang Thi Khue, ‘Vietnamese Fine Art Finds Itself in Respect of Aesthetics’ in Caroline Turner (ed) Art and Social Change, Pandanus Press 2005, pp. 310-328. Donna Midwinter, Conservation assessment of museums and historic sites in Quang Nam Da Nang Province, Vietnam : April 21-May 2, 1996, Art Gallery of New South Wales, Sydney, 1996. Colin Pearson, Survey of museums in Vietnam: April, 1994, University of Canberra, Canberra, A.C.T. 1994. Nguyen Van Huy. ‘How an ethnographic museum can contribute to the preservation and development of ethnic cultures: some shared experiences of the Vietnam Museum of Ethnology’, ASPAC-ICOM Bulletin, September 2000, Vols 1 and 2, pp. 18-19. Nguyen Van Huy, Vietnam Museum of Ethnology, Hanoi, Vietnam Museum of Ethnology, 1998.

30