1 Title page version 2

HYPOTHETICAL EXHIBITION Art Gallery of South Australia

Gallery 24

Kylie Neagle

Bachelor of Visual Arts (Honours) University of South Australia

Bachelor of Education (Middle and Secondary)

University of South Australia

Graduate Diploma in Art History University of Adelaide

Dissertation completed in partial fulfilment of the requirements for the

MA Curatorial and Museum Studies University of Adelaide and the Art Gallery of South Australia

School of Humanities

November 2015

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DECLARATION

This works contains no material which has been accepted for the award of any other degree or diploma in any university or other tertiary institution and, to the best of my knowledge and belief, contains no material previously published or written by another person, except where due reference has been made in the text.

Student signature

Date

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Name…………………………………………………………

Signature…………………………………………………… Date………………………………………….

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C O N T E N T S

E X H I B I T I O N P R O P O S A L

1.1 Exhibition title…….…………………………………………………….. 5

1.2 Rationale …………………………………………………………... 5 – 6

1.3 Theoretical Ideas …………..……………………..…………..... 7 – 10

1.4 Aims……………..…………………………………..………......... 11 – 12

1.5 Artworks and Themes ………………………………..……….. 12 – 17

1.6 Target Audience ………………………………………………. 17 – 22

1.7 Dates …………………………………………………………….. 22 – 23

1.8 Bibliography ……………………………………………………. 24 – 31

I L L U S T R A T E D C H E C K L I S T

2.1 List of works ………………………………………………......... 32 – 42

B U D G E T

3.1 Income and expenditure…………………………............... 43 – 46

3.2 Insurance breakdown…………………………………...…........... 47

3.3 Loan, freight and packing breakdown …………...…..… 48 – 49

3.4 Condition Reports, framing and matting for loan works……. 50

E X H I B I T I O N D E S I G N

4.1 Floor plan ……………………………………………………............ 51

4.2 Wall view ………………………………………………………. 52 – 56

4.3 Lighting and wall colour …………………………………..... 57 – 58

4.4 Special installation & wall construction ………………….. 59 – 60

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4.5 Model ………………………………………………………....... 61 – 62

4.6 Layout rationale ………………………………..…….……..... 63 – 65

I N T E R P R E T I V E L A B E L S

5.1 Thematic wall text….…………..………………………….............. 66

5.2 Extended wall labels ……..………………………………….. 67 – 71

5.3 Discussion Markers ……………………..…………………….. 72 – 76

P U B L I C P R O G R A M S

6.1 Overview……….……………….………………….………...... 77 – 92

6.2 Your Say Wall ……………………………………………......... 93 – 95

6.3 Blank Discussion Marker examples………………...................... 96

P U B L I C I T Y & M A R K E T I N G

7.1 Media Release ….…………….………………………………. 97 – 98

7.2 Logo and Poster ……….………………………………….... 99 – 103

7.3 Website……………………………………………...…......... 104 – 105

7.4 Publications ……...……………..……………………….….. 106 - 107

C A T A L O G U E

8.1 Essay…………….….…………………………………..…….. 108 – 130

8.2 Illustration List ……….………………………..…………..… 131 – 141

8.3 Bibliography ………………… ……………………..…….... 142 – 146

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E X H I B I T I O N P R O P O S A L

T E C H N E The Intersection of Art and Science

Art Gallery of South Australia, Gallery 24 2nd June 2017 – 27th August 2017

Kylie Neagle

1.1 EXHIBITION TITLE The proposed title for the 2017 winter season at the Art Gallery of South Australia is

Techne: The Intersection of Art and Science. The core concept of this title is the

unique blend between art and science. A single term that is succinct and easy to

pronounce, Techne encompasses a broad idea that is inviting of personal

interpretation. At its simplest form Techne already alludes to those with an interest

in the practical nature of art and science, yet is able to pique the interest of a wide

audience.

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With its derivation from the Greek word for technique and technology, science and

art become unified in a single word that is Techne. 1 The use of a single word as the

exhibition title reinforces the parallels that exist between art and science.

1.2 RATIONALE

The core concept of Techne is to highlight the link between art and science that had

been intertwined in centuries past and has reformed a bond after a lengthy

sabbatical. These disciplines have long been perceived at opposing ends of culture.

Yet it is both the artist and the scientist that help us interpret the world we live in

addressing familiar scientific entities such as ecosystems, anatomy and biodiversity.

The works in Techne that do not fit into these categories encourages the viewer to

be curious and search for connections.

Techne aims to elevate society’s view of art and science, as the value of these

disciplines has fallen by the way side in current times. The works in Techne will

speak to the camaraderie of art and science reviving the connection and encouraging

society to be conscious of the validity of both disciplines.2 Not all artworks in Techne

1 Strosberg, E. Art and Science, United Nations Educational, Scientific and Cultural Organisation, New York, USA, 2015, p. 26. 2 Postman, N. The End of Education: Redefining the Value of School, Vintace Books, New York, 1995, p. 6.

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have a transparent link to art and science, presenting an opportunity for a

generation of new ideas about art science collaborations.3

1.3 THEORETICAL IDEAS UNDERPINNING EXHIBITION Art and science share a common language, process and motivation to create and

discover yet we are conscious of their opposition. The English poet and critic

Matthew Arnold surmised in his speech at the Royal Academy in London in 1881, in

order to foster true culture in society we need to be educated in both scientific

investigation and the humanities. One does not have precedence over the other, as

Thomas Huxley had suggested.4 The humanities are an important tool in which

people can reflect on and understand human life and appreciate beauty. Herein lies

3 Szekeres, V. ‘Changing Headsets: the impact of the museum on social thinking’, Australia-‐Israel Hawke Centre Lecture, 2005, p. 7. 4 Roos, D. ‘Matthew Arnold and Thomas Henry Huxley: Two Speeches at the Royal Academy, 1881 and 1883’ Modern Philology, vol. 74 no. 3 February 1977, p. 316-‐324.

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the theoretical underpinning of Techne. This exhibition is based on the premise that

science provides stimulus for artists, conceptually, aesthetically and practically. It is

the role of the artist to then provide the connection of science to the average visitor,

allowing for an understanding of the scientific principles that underpin concepts and

materials, thus helping to provide a richer understanding of the world.

From the Early Modern period to the Renaissance scientific inquiry flourished, as

scientists began to separate myths from reality with the discovery of the scientific

method. In areas of physics, chemistry and astronomy, those associated with the

Scientific Revolution discovered ways to identify, validate and communicate their

findings.5 Artists such as Albrecht Dürer and Leonardo da Vinci were dedicated to

scientific experimentation and applied systematic inquiry to their works, revealing a

deeper understanding of the natural world.6 This interplay between artist and

scientist led to such discoveries in linear perspective.7 Their methods blurred the line

between art and science, although greater emphasis was placed on the art making.

The acceleration of scientific experimentation was spurred on during the

Enlightenment, which saw a decline in artistic patronage that was previously

associated with religion and politics.8 This, later combined with the introduction of

the machine during the Industrial Revolution, created an explicit distinction between

artist and scientist where they had previously been held to the same esteem. Since 5 Shapin, S. The Scientific Revolution, The University of Chicago Press, Chicago and London, 1996, p. 11. 6 Kepes, G. The New Landscape in Art and Science, Paul Theobald and Co. Chicago, 1956, p. 21 7 Gombrich, E.H. The Story of Art, Phaidon, London, 1995, p. 170. 8 Honour. H & Fleming, J. A World History of Art, Laurence King Publishing, Great Britain, 2009, p. 607 – 608.

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the Industrial Revolution the artist cannot escape science, as advancements in

science and technology have dramatically shaped the world we live in today.9

The association of the scientist with the machine age saw a synonymous shift in

power and artists began to move toward an interpretation of reality rather than its

representation.10 Science had quickly become more specialised and a further shift in

attitude towards a hierarchy of science had occurred. However this era also provided

new methods and materials for artists to create works. As author of Art + Science

Stephen Wilson states, ‘the partitioning of curiosity, inquiry and knowledge into

specialised compartments is a recipe for cultural stagnation’11. The artists of this

time took inspiration from new technologies, with many weaving new techniques

such as photography and electricity into their works. To avoid cultural stagnation, we

must encourage and celebrate the union between art and science.

Gradually as we entered contemporary times the regard of both artist and scientist

has not sustained its value amongst general society. Today’s world often sees an

inaccurate image of a veiled scientist akin to the stereotypical lab coated gentrified

male of the 1950s.12 With the artist equivalent akin to a 1970s free spirited left wing

activist, the image of the artist and the scientist is far from the reality. This

9 Gabo, N. ‘Art and Science’, The New Landscape in Art and Science, Paul Theobald and Co. Chicago, 1956 p. 61. 10 Wolter-‐Abele, A. ‘How Science and Technology Changed Art’, History Today, November 1996, p. 64 – 68. 11 Wilson, S. Art + Science, Thames and Hudson, London, 2010, p. 6. 12 Margolis, E. & Pauwels Luc (ed), ‘Margaret Mead: Image of a Scientist Study’, SAGE Handbook of Visual Research Methods, SAGE Publications, London. 2011, p. 219 – 220.

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misrepresentation combined with the simplified information communicated to the

masses about science and art has seen these areas struggle to maintain their regard

they once held so highly. The intention of Techne is to re-‐elevate their status by

taking the audience on a subtle journey that lays foundations from which we can

grasp this new era of art and science.

The Bio-‐Art movement, gaining momentum globally, is a new arts practice in which

artists use biology as their medium or their subject to create works. These artists are

developing cutting edge techniques, akin to the Surrealists in the 20th century. These

artists were dealing with complex issues of identity, war and the social conditions

that accompanied such events. The new generation of artists remain focused on

disrupting our defined understanding of the world. They challenge our

understanding of the environment and rapid advancements in biomedicine and

technology, creating works that truly blur the line between art and science. As

developments in science accelerate, so too does an artist’s need to respond to this

dramatically altered reality. However, this wave of artists’ focus on the human

experience of our changing world is no different to the artists in Techne.13

The gulf between art and science remains. However, not only do they share similar

characteristics and methodologies, art and science also have the potential to help

13 Myers, W. Bio-‐Art: Altered Realities, Thames and Hudson, London, 2015, p. 8.

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society see the world from a renewed perspective. Both disciplines anticipate and

embrace the unknown and challenge the status quo. Although artworks are more

ambiguous than scientific results and analysis, artists are effective storytellers.

Science has incredible stories to share, but lacks an ability to narrate these to a wide

audience. Techne will highlight the fluidity of art and science and bring to light the

science that exists in art. By drawing attention to science Techne has the potential to

invigorate our interpretations of the works in the exhibition.14 Utilising the artists’

innate ability to communicate, the artworks selected for Techne will connect with

people in a way that science cannot do in isolation.

1.4 AIMS With the intention to resurface the integration of art and science Techne aims to:

! Present a selection of artworks that re-‐address and reinforce the

synonymous relationship between art and science.

! Plant the seed of change of people’s attitudes about art and science

! Provide an opportunity for visitors to reinterpret historical and contemporary

artworks in a new way

14 Ede, S. Art and Science, I.B Tauris, London, 2005, p. 180.

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! Present an inclusive narrative about science and art, which all audience

members can engage with15

! Highlight the scientific principles that are present in methods of producing art

! Draw attention to the harmful impacts of science alongside its technological

advancement

! Encourage the audience to look at art through a science lens

! Elevate the presence of the emergence of Bio-‐Art

! Fuel discussion and debate surrounding art and science

! Spark curiosity and foster abstract thinking

! Create stimulating experience involving more than the sense of sight

! Create an encouraging and supportive space for learners to encounter

positive experiences, thus encouraging repeat visits16

The aim for Techne is to present a dynamic selection of works that leaves the viewer

searching for answers and looking for more connections between art and science.

Sparking curiosity will help to extend the visitors’ engagement with AGSA and their

consideration for interdisciplinary approaches in everyday life. Participation in public

programs and with social media pages may enhance their understanding and

appreciation of art and science further, post-‐visit.

15 Roberts, L. From Knowledge to Narrative: Educators and the Changing Museum, Washington and London: Smithsonian Institution Press, 1997, p. 3. 16 Colbert, F. ‘Entrepreneurship and Leadership in Marketing the Arts’, New Wave: Entrepreneurship & the Arts, Melbourne, 2002, 5 & 6 April, p. 6.

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1.5 ARTWORKS & THEMES The works will be sourced primarily from the Art Gallery of South Australia allowing

exposure of the collection not on permanent display to an audience who may have

not been exposed to these works. Other works on loan from the National Gallery of

Victoria, the Art Gallery of New South Wales and the Australian Centre for the

Moving Image will help to complement the narrative of the art science intersection.

A small selection of works will be on loan from commercial galleries and artists’

private collections within Australia.

Selecting works that transcend era and locale, Techne aims to demonstrate the art

and science relationship as one that has endured time and distance. Visitors will

have the opportunity to think, consider, discuss, experiment and create, thus

cultivating curiosity and their connection to science through art.

Too often we label objects as art or artefact or impose identities on human beings as

either having more of a ‘creative’ or ‘logical’ intelligence. Can we not have both? Are

the arts and science not equal? Techne explores a synergy of art and science both in

a historical and contemporary context. We do not celebrate enough the common

characteristics of the two disciplines. Evidence, intellectual research, imagination

and logical planning are all required to carry out scientific experiments as well as in

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the creation of artworks. In essence art and science feed from one another in an

attempt to understand the world’s complexities. Their relationship could be defined

as ‘mutualism’, in which organisms (in this case disciplines) both benefit.

Three overarching themes; Weave, Invent and Ask are embedded in the exhibition

and help the audience to make connections between works, reinforcing the robust

nature of the art science relationship. Single worded themes suggest clear narratives

with a beginning, middle and end, yet the works are not physically grouped under

these themes. This allows for a malleable narrative for the viewer in which they can

interpret these sub themes and extend on their existing understanding of art and

science. It is intended that the sub themes and groupings in Techne will help the

audience to produce a meaning, rather than the institution transmitting prescribed

knowledge.17

Weave, Invent and Ask highlights the commonalities of the actions of artist and

scientist; weaving stories, inventing hypotheses and asking questions to their

audiences.18 With this, the parallels between art and science are more pronounced.

17 Roberts, L. 1997, p. 3. 18 Ede, S. 2005, p. 21.

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However, the visitor will be responsible for navigating their own way through the

exhibition rather than be purely didactic.19

Intertwined in the themes of Weave, Invent and Ask are broader concepts such as

anatomy, evolution, biodiversity, perception of light and colour, technical discovery

and advancement as well as social and ethical issues associated with science.

To illustrate how artworks can be given malleable theme a cross section of works for

each theme is called out below:

Weave

! Julie Blyfield, Acacia Vessel, silver, 10.5cm, AGSA, 2007

! Matthys Gerber, Clouds #2, oil on polyester, 300 x 189cm, Art Gallery of New

South Wales, 1995

! Camille Pissarro, Prairie a Eragny, oil on canvas, 59.4 x 73cm, AGSA, 1886

This selection of works aim to illuminate the simplicity that exists in our natural

world, made visible by some of these artists. Other works refer to notions of

neuroscience and our perception of light and colour. Some of these artists have

engaged deliberately with laws of science, while others have inevitably been

influenced by science, unintentionally embodying these scientific concepts into their

19 Doering, Z. ‘Strangers, guests or clients? Visitor experience in museums, in Sandell Richard and Janes, Robert R. (ed), Museum Management and Marketing, Routledge, London, 2007, p. 338.

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works.20 These works demonstrate the Renaissance value of integrating both

disciplines.21 Some of the pieces in this selection blur the lines into other sub-‐

themes. This is intentional as Techne highlights the overlap between art and science.

Invent

! Jacqueline Clayton, Rike and the Autoclave, carved face powder, porcelain,

face powder, vintage laboratory hardware, 55 x 27 x 33cm, courtesy of artist,

2011

! John Perceval, Angel Winkie, earthenware clay, 21 x 13 x 16cm, AGSA, 1959

! Daniel von Sturmer, Horizontal Hold, synchronised dual channel video DVD

format, AGSA, 2004

These works highlight the enduring relationship of art and science through artists’

experimentation with materials in which they push boundaries by testing and

stretching material properties. Other works reference the advancements in new

technology made possible through scientific discovery in the modern era and

beyond.

Ask

! Fiona Hall, Mourning Chorus, plastic, resin, vitrine, 154 x 217 x 88cm, Roslyn

Oxley9 Gallery, 2007-‐2008

20 Wilson, S. Art + Science, Thames and Hudson, London, 2010, p. 13. 21 Gombrich, E.H. 1995, p. 174.

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! Kunmanara Queama & Hilda Moodoo, Destruction I, synthetic polymer paint

on canvas, 119 x 98.2cm, AGSA 2002

! Lynette Wallworth, Hold: Vessel 1, 3 channel DVD Multimedia installation and

glass bowls, Australian Centre for the Moving Image, Melbourne, 2001

This section poses the most transparent link to science in that it reveals ethical and

moral questions and issues that have been raised as a result of scientific

advancement. By bringing issues to the fore both artists and scientists have the

potential to affect decision-‐making, by interrogating the information that confronts

us daily. Once people are informed and care enough about the issues presented,

then social change can occur.22 As Sam Foster from Zeal Theatre states ‘the best

science and best art ask questions, they don’t necessarily give the answers’.23 The

works selected under this sub theme, present challenging and thought provoking

concepts that invite the audience to question.

1.6 TARGET AUDIENCE This exhibition aims to appeal to a wide age group, as it includes a blend of historical

and contemporary examples of the art and science synergy. The public programs

have been designed for a varied audience from pre-‐school children to science and

22 Szekeres, V. 2005, p. 11. 23 Ward, S. (Foster, S) ‘Where no scientist has gone before…the arts’, Arts Hub latest news, http://www.artshub.com.au/news-‐article/news/trends-‐and-‐analysis/sarah-‐ward/where-‐no-‐scientist-‐has-‐gone-‐beforethe-‐arts-‐248590, 2 July 2015.

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art history academics, thus expanding socio demographics. Techne will contribute to

the ongoing discussion of this union and will appeal to everyone by showcasing

works that address a diverse range of scientific themes, emphasising their symbiotic

relationship. The exhibition and its title allow people to automatically make

connections without an overload of factual information, reminding the viewer how

one discipline lends itself to the other.

Sparking curiosity for adults as well as children is also a priority. By engaging with the

education sector and embedding curriculum-‐learning priorities into primary and

secondary school targeted material, Techne aims to inspire teachers and students.

Public programs offered throughout the duration of the exhibition will be in

partnership with other science-‐based institutions across the state including RiAus,

the Museum of Economic Botany, the medical department at the University of

Adelaide and the Planetarium at the University of South Australia. Techne will

provide the launching pad from which scientific methods and principles can be

explored further through enriching experiences offered by these institutions and

AGSA.

As the museum in recent times is considered an extension of the education system,

initially Techne will draw a large pool of its attendees from this sector, with strategic

promotion of the exhibition targeted at schools.24 Education, with a specific focus on

24 Szekeres, V. 2005, p. 1.

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children and families, is a key element to the 2012-‐2015 strategic plan for the Art

Gallery of South Australia. Furthermore, AGSA aims to generate long-‐term

relationships with children through interactive activities and collaborate will all tiers

of the education sector.25 Techne will help to address these goals by presenting

artworks that encourage critical thinking and provide activities that will build on the

themes and questions presented by the artists. By incorporating works that embody

a science and art bent, a myriad of opportunities are created for not only art

teachers and students, but also those studying science.

The Australian Curriculum recommends visits to cultural institutions. 26 An exhibition

such as this will entice a large number of educators and students. The themes

explored in Techne can also be linked to the cross curriculum priority of

sustainability, which all learning areas must address.27 A comprehensive educational

resource, available via the learning page on the AGSA website, will highlight

potential links. This will be achieved by including contextual information and

suggested learning activities that can be undertaken during the gallery visit or post

visit.

25 Mitzevitch, N. 2012-‐2015 Art Gallery of South Australia Strategic Plan, http://www.artgallery.sa.gov.au, p. 7. 26 The Australian Curriculum: The Arts, Version 7.3, http://www.australiancurriculum.edu.au/the-‐arts, January 5th 2015, (accessed 10th October 2015), p. 64. 27 The Australian Curriculum: The Arts, Version 7.3, http://www.australiancurriculum.edu.au/crosscurriculumpriorities/sustainability/overview, January 5th 2015, (accessed 10th October 2015), p. 19.

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In addition to this resource, wall labels in the form of Think & Discuss discussion

markers (Fig. 1)28 will be placed beside some artworks to help reinforce the concepts

presented by the artists and the scientific elements that underpin them. Akin to the

markers used by the Wheeler Centre in Victoria29 the Think & Discuss markers here

are placed with the intention of promoting active rather than passive viewing and

aim to:

! Provide some structure to novice audience members who may be

disorientated due to the unfamiliar surroundings or objects.30

! Prompt dialogue by ensuring discussion markers are succinct and connect to

a real world context

! Conceptually orientate viewers of all ages and give ownership to the visitor.

! Remove the institutional voice and let the audience establish their own

understanding of the work in relation to hypothetical questions that provoke

social awareness.

Essentially these markers epitomise the ideals behind Techne, as the exhibition

highlights parallels rather than enforces a didactic approach. These markers help

anchor the viewer in place by providing them with space to make connections and

synthesise the relationship between the works, preventing confusion.31

28 For more detail on discussion markers see Target Audience or Interpretive Labels on p. 72. 29 The Wheeler Centre, #discuss, http://www.wheelercentre.com/projects/discuss, June 2014, accessed 6th November 2015. 30 Doering, Z. 2007, p. 339. 31 Belcher M. ‘Orientation and Environment’ Exhibitions in Museums, Leicester University Press,

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In addition, these discussion markers will

include social media tags (#thinkdiscuss &

@artgalleryofsa) for the audience to continue

to engage with the gallery post visit. This

communication via social media between the

Techne audience and the gallery will

contribute to AGSA’s online presence and extend the reach of its artistic program.

The design of these questions will be structured to facilitate varied interpretations.

The objects and corresponding discussion markers may activate an association,

memory or idea instantly. Likewise they can trigger a link at a later date and by

having this online communication, visitors can remain connected with the gallery

and its content.32

Techne will also collaborate with other institutions within the cultural precinct of

North Terrace and beyond, to provide engaging public programs that appeal to

teenagers and adults of all ages.33 This will include:

! Symposium of artists and scientists to discuss art and science overlap.

(Flinders University and RiAus)

Leicester, 1991, p. 100. 32 Gurian, E. ‘Noodling around with exhibition opportunities’ in Karp, I. and Lavine, S (eds.) Exhibiting Cultures: The Poetics of Museum Display, Smithsonian Institution Press, 1991, Washington, p. 181. 33 For more details see the Public Programs on p. 77

Figure 1

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! Practical workshops run by emerging South Australian artists (Guildhouse

and the Adelaide Central School of Art)

! Careers forum for Art and Science secondary students led by tertiary

institutions

! Artist talks and walking tours in collaboration with The Museum of Economic

Botany and the Adelaide Botanic Gardens

! Film Screening of Lynette Wallworth’s Coral Rekindling Venus at the Adelaide

Planetarium

! Medical student lecture and observational drawing seminar (Adelaide

University)

Other public programs will include:

! Activities in the Studio on weekdays, weekends, during school holidays and

throughout National Science Week, aimed at children

! First Friday events

! Time based diorama referencing the work by Robyn Stacey, encouraging

repeat visits.

These strategies and collaborations aim to encourage diverse audience attendance.34

The following additions to the gallery will cater for all audience members: 34 Starke, M. ‘Exploring Marking Methods in Art Museums in France, UK and USA’, Winston Churchill Memorial Trust of Australia, Fellows Report, 2006, p. 16.

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! Minimum wall text

! Corresponding wall cards to provide the viewer with some contextual

information will help to orientate the viewer, giving them confidence to

‘unpack’ the artworks on display.

! A copy of the catalogue will be available to read in the exhibition

1.7 DATES The winter slot (1st June 2017 -‐ 30th August 2017) in AGSA’s programming was

selected to appeal largely to adults with young families and school aged children.

With winter weather restricting some outdoor leisure activities on weekends and

during school holidays, visiting Techne will prove an appealing winter activity. The

exhibition, The Studio and public program schedule will provide opportunities for

visitors’ experiences to be enhanced. This includes opportunities for children as well

as parents who experience the activity vicariously.35 Observing their children learn

new things through cognitive and interpretative activities is an important aspect to

the gallery visit.36

The last week in August is also National Science week. This will complement the

exhibition’s public programs by presenting additional hands-‐on activities, such as

experimentation with light, colour and shadow. These activities will support the

35 Serrell, B. Exhibit Labels: An Interpretive Approach, Altamira Press, Oxford, UK, 1996, p. 24. 36 Doering, Z. 2007, p. 341

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novice learner, promote meaning making and enrich the visitors’ prior

understanding of art and science.37

1.8 BIBLIOGRAPHY

Primary Mitzevitch, N. 2012-‐2015 Art Gallery of South Australia Strategic Plan, http://www.artgallery.sa.gov.au Secondary Books Adjaye, D. ‘A Backward Journey – an interview with Tim Noble and Sue Webster’, Turning the Seventh Corner: Tim Noble and Sue Webster, Blain Southern, London, 2011, p. 27 – 38 Arnold, K. Ede, S (ed), ‘Between Explanation and Inspiration: Images in Science’ Strange and Charmed: Science and the Contemporary Arts, Calouste Gulbenkian Foundation, London, 2000, p. 79

37 Ibid. p. 338

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Belcher M. ‘Orientation and Environment’ Exhibitions in Museums, Leicester University Press, Leicester, 1991, p. 99-‐ 121 Bell, J. Mirror of the World A New Art History, Thames and Hudson, London, 2007 Best, S & de Duve Thierry, Shadow Land: Anne Ferran, Lawrence Wilson Art Gallery, Western Australia, 2004, p. 29 – 41 Bracewell, M, ‘Shadows and Light – The Art of Tim Noble and Sue Webster’, British Rubbish, Skira Rizzoli, New York, p. 227 – 229 Carroll, A, Art from Australia: eight contemporary views: Micky Allan, John Davis, Richard Dunn, Anne Ferran, Fiona Hall, Imants Tillers, Caroline Williams’, Melbourne: Australian Exhibition Touring, 1990 Chevreul, M. E. The Principles of harmony and contrast and their application to the arts, Reinhold, New York, 1967 (First published French edition 1839) Clauton, T. Hands-‐on Exhibitions: Managing Interactive Museums and Science Centres, Routledge, USA, 1998, p. 1 – 38 Crombie, I. ‘Industralia: The Photography of Wolfgang Sievers’ Modern Times, The untold story of modernism in Australia, The Miegunyah Press & Powerhouse Publishing, 2009, p. 144 – 151 Desmond, M. chapter 5 Developing an Exhibition, Museums Australia, 2001 Doering, Z. ‘Strangers, guests or clients? Visitor experience in museums, in Sandell Richard and Janes, Robert R. (ed), Museum Management and Marketing, Routledge, London, 2007, p. 333 – 344 Ede, S. Art and Science, I.B Tauris, London, 2005 Ede, S (ed), Strange and Charmed: Science and the Contemporary Arts, Calouste Gulbenkian Foundation, London, 2000 Ehernzweig, A. The Hidden Order of Art, University of California Press, United States, 1971 Eibl-‐Eibesfeldt, I. ‘Ernst Haeckel – The Artist in the Scientist’, Ernst Haeckel: Art Forms in Nature, Prestel, New York, 2010, p. 19 – 29 Forbes, S. ‘The audacity of man and the economy of nature’, Santos Museum of Economic Botany, Board of the Botanic Gardens and State Herbarium, 2010, p. 12 –

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