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News Article | November 16, 2016
Site: www.marketwired.com

VANCOUVER, BRITISH COLUMBIA--(Marketwired - Nov. 15, 2016) - Hon. John Rustad, Minister of Aboriginal Relations and Reconciliation presented the 2016 BC Creative Achievement Awards for First Nations Art to six recipients Tuesday. Among them is Susan Point, a Coast Salish artist from Musqueam, who received the Lifetime Achievement Award for profound contribution to First Nations culture. The awards, sponsored by Polygon Homes Ltd., are presented by the British Columbia Achievement Foundation. "First Nations artistic traditions in BC are not only sustained but are profoundly enhanced by the work of this year's award recipients," said Foundation Chair Keith Mitchell. "These awards highlight the cultural stories each recipient pursues in their artistic practice. They join 62 First Nations artists the Foundation has had the privilege of recognizing over the past decade." The annual BC Creative Achievement Awards for First Nations Art celebrate artistic excellence in traditional, contemporary or media art. The 2016 recipients honoured are: The recipients were selected by the following jury members: Stan Bevan, world renowned carver and teacher; Tania Willard, celebrated curator and artist; Brenda Crabtree, Aboriginal Program Director at Emily Carr University; and Bill McLennan, UBC Museum of Anthropology's Curator Emeritus. At the 10th annual celebration of the awards, the BC Achievement Foundation announced the Crabtree McLennan Emerging Artist Award which will be offered in 2017 in recognition of the contributions of Brenda Crabtree and Bill McLennan. The BC Achievement Foundation is an independent foundation established and endowed by the Province of BC in 2003 to celebrate community service, arts, humanities and enterprise. Detailed information about the awards and a list of past winners is posted on the foundation's website at www.bcachievement.com.


News Article | February 15, 2017
Site: www.prweb.com

NEWARK – When the Newark Museum’s Chief Curator Ulysses Grant Dietz steps down from his position at the end of 2017, he will leave behind a 37-year legacy marked with silver, jewels, ceramics and a Victorian mansion. Dietz will transition from his post as the Museum’s Chief Curator and Curator of Decorative Arts to Curator Emeritus as of December 31st. In preparation for his new role, Dietz is giving Museum visitors a chance to revisit a broad representation of the objects he helped bring into its collections. Each of these reinstallations in the decorative arts galleries is intended to focus on both the Museum’s history of interest in the impact of design and craft on domestic furnishings, and also on Dietz’s own evolving vision for the vast collection in his care. “We have an unbroken history of collecting modern objects that represent the idea that art is everywhere, not just in paint and marble and bronze,” Dietz said. “Our founding premise was that art should be accessible – intellectually and financially – to everyone who walked in our doors. In 1909 that was a radical vision and it has informed my work as a curator for 37 years.” The following reinstallations will open February 22: Dietz will be honored at the Newark Museum Volunteer Organization Annual Tea on May 16. “I wanted to retire before everybody wanted me to retire. I want another generation to take on the challenges that I faced when I started here, at 24 years old, in 1980,” Dietz said. “In all my years here I’ve never been bored, and my love for this place and its collection has only grown. I want to see someone else have the same fun I’ve had for so long.” Dietz joined the Museum in 1980 as its Curator of Decorative Arts, after receiving degrees from Yale University and the University of Delaware’s Winterthur Program. The first exhibition Dietz curated for the Museum was A Festival of Quilts in 1980. Since then, he has curated more than 100 exhibitions and installations that showcased themes in the decorative arts such as art glass, studio ceramics, 19th-century furniture, three centuries of American silver and Newark’s jewelry industry. Dietz was named Chief Curator in 2012. Throughout his career Dietz has maintained a strong interest in the 19th century; it has since grown to encompass the 2oth and 21st centuries. His newest passion is jewelry, and he has always tried to tell the stories of Newark and New Jersey through objects made and used here. An example of an exhibition that combined these two interests is The Glitter and the Gold: Fashioning America’s Jewelry, a show Dietz co-curated in 1997 about the gold jewelry industry in Newark. Newark was the center of solid-gold jewelry manufacturing from the 1850s to the 1950s and made 90 percent of the 14-karat jewelry produced in America. More recent examples of the intersection of the glitter and Newark’s storied history include Dietz’ establishment and 2015 reinstallation of the Lore Ross Jewelry Gallery. Jewelry from Pearls to Platinum to Plastic highlights the wide array of materials, both precious and humble, that have been used over the centuries to create things of beauty for personal adornment; City of Silver and Gold from Tiffany to Cartier is a visual documentation of the rise of the city’s gold and silver industry from modest beginnings in the early 1800s to national prominence by the turn of the 20th century; and Hot, Hotter, Hottest: 300 Years of New Jersey Ceramics, a new permanent gallery that explores the rich legacy of New Jersey’s pottery and porcelain makers. Perhaps Dietz’s legacy is best reflected in the Museum’s Gilded Age mansion, the Ballantine House, built in 1885 for John and Jeannette Ballantine of the celebrated Newark brewing family. The house was purchased as office and classroom space by the Museum in 1937 and was partially restored for the National Bicentennial in 1976. Designated a National Historic Landmark in 1985, the Ballantine House was completely restored and reinterpreted between 1992 and 1994. House & Home presents the house as a case study for the idea of “home” as it existed by the 1890s in America, and the full range of the decorative arts collection is displayed to explore how Americans have always expressed themselves by the things they chose to fill their homes. “After 23 years, House & Home is still virtually unique among American museums and historic houses. It is perhaps my proudest moment as curator,” Dietz said. As he prepares his exit, Dietz continues to update House & Home, with new interactive galleries and a new interpretive installation that looks closely at specific aspects of the Ballantine family’s life in the house: Life, Love, Death: The Ballantines. “Ulysses’ curatorial vision has helped build the Museum’s outstanding reputation in the local, regional and national community,” said Steven Kern, the Museum’s Director and CEO. “We are grateful to Ulysses for his dedication to the Museum, and we wish him all the best in his future endeavors.”


Lanza B.,Museo Zoologico La Specola Sezione Del Museo Of Storia Naturale Delluniversita | Broadley D.G.,Curator Emeritus
Acta Herpetologica | Year: 2014

The status of the material of the genus Gonionotophis from north-eastern Africa (north of Latitude 12'S and east of Longitude 28'E) is reconsidered. The northernmost specimens of G. nyassae (Günther, 1888) fall within the known range of variation for that species. The available specimens of the G. capensis (A. Smith, 1847) complex from this region indicate that the number of postoculars varies from none to three, so that the 'diagnostic' lack of postoculars in M. fiechteri Scortecci, 1929 is invalid. The Somali specimens should be assigned to the north-eastern form G. chanleri (Stejneger, 1893), of which Simocephalus unicolor Boulenger, 1910 is a synonym. Data for G. chanleri is summarised from throughout its extensive range, and compared with data for adjacent populations of G. capensis and G. savorgnani (Mocquard, 1877). © Firenze University Press.


Hadley K.R.,Queen's University | Douglas M.S.V.,University of Alberta | McGhee R.,Curator Emeritus | Blais J.M.,University of Ottawa | Smol J.P.,Queen's University
Journal of Paleolimnology | Year: 2010

Until recently, major anthropogenic impacts on freshwater ecosystems were believed to be rare in North America prior to the period of European colonization. However, recent paleolimnological and archaeological data collected from the Canadian Arctic suggest that the whaling activities of Thule Inuit, who lived in small, nomadic communities, altered freshwater ecosystems centuries earlier. Using a comparative paleolimnological approach from two ponds situated adjacent to a former Thule winter settlement on south-eastern Bathurst Island (Nunavut, Arctic Canada), we record marked ecological changes in pond ecology due to eutrophication from the Thule's activities. The geography of our study site provided an interesting and rare opportunity for a comparative paleolimnological study of long-term Thule impacts on polar limnology, because our two study ponds (only ~50 m apart) were nearly identical in size and in geological and climatic settings, but differed markedly in the magnitude of Thule influence. Here, we recorded striking changes in diatom species assemblages, spectrally-inferred primary production, and nutrient geochemistry, indicating eutrophication in a small pond draining 18 Thule whale houses. Input of marine-derived nutrients from sea mammal carcasses used by the Thule for both sustenance and the construction of winter settlements, as well as other anthropogenic activities, coincided with a notable increase in the eutrophic diatom taxon Stephanodiscus minutulus, whereas no comparable changes were recorded in the nearby control pond for the duration of the sedimentary record. Although the diatom changes recorded in the affected site persisted after the period of Thule occupation, the most recent sediments and water chemistry suggest that the pond has largely recovered to near pre-impact conditions. © 2009 Springer Science+Business Media B.V.


A small pontoniine shrimp, Periclimenaeus pulitzerfinali, from Shelly Beach, Mombasa, Kenya, is described as new and illustrated. An appendix presents a complete list of Periclimenaeus species recorded from East Africa (Kenya, Zanzibar, Tanganika).


Two new species of pontoniine shrimp from the reefs around Cartier Island, Western Australia, are described and illustrated. Periclimenaeus ancylodactylus is identifiable from the minor second pereiopod dactyl and P. forcipulatus by the dactyl of the third pereiopod, both with unique features. Two species of this genus are already known from nearby Ashmore Reef and five more from the rest of Western Australia. © Koninklijke Brill NV, Leiden.


Birch W.D.,Curator Emeritus | Darragh T.A.,Curator Emeritus
Proceedings of the Royal Society of Victoria | Year: 2015

George Henry Frederick Ulrich (1830-1900) was educated at the Clausthal Mining School in Germany and arrived in Victoria in 1853. After a short period on the goldfields, he was employed on the Mining Commission and then on the Geological Survey of Victoria until its closure in 1868. In 1870 he was appointed Curator and lecturer at the newly established Industrial and Technological Museum of Victoria. In 1878 he was appointed inaugural Director of the Otago School of Mines, New Zealand, a position he held until his death in 1900. His legacy includes detailed original maps of central Victorian goldfields, the foundation of the state's geological collections, and among the first accounts of Victorian geology published in German periodicals, until now little known. As the only scientist of his times in Victoria with the qualifications and expertise to accurately identify and properly describe minerals, he provided the first comprehensive accounts of Victorian mineralogy, including the identification of the first new mineral in Australia, which he named maldonite. His contribution to mineralogy is recognised by the species ulrichite. Ulrich was universally respected for his scientific achievements and highly regarded for his personal qualities.

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