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Daniel Thomas’s first volume of collected writings is a small sample from about a thousand articles written over seventy years. From the time Thomas returned to Australia from Oxford to become the first curator of Australian art at the Art Gallery of New South Wales in 1958, he emerged as a leading figure in the Australian art world. Then as the inaugural head of Australian art at the newly established National Gallery, Canberra (1978-1984), and as Director of the Art Gallery of Australia (1984-1990), he developed curatorship as a profession, created national collections with remarkable acquisitions, developed provenance research and much more. This book is essential reading for anyone who writes on Australian art.

In 2012 the Australian Commonwealth government was scheduled to release the first dedicated policy for culture and the arts since the Keating government's Creative Nation (1994). Investing in a Creative Australia was to appear after a lengthy period of consultation between the Commonwealth government and all interested cultural sectors and organisations. When it eventuates, the policy will be of particular interest to those information professionals working in the GLAM (galleries, libraries, archives and museums) environment. GLAM is a cross-institutional field which seeks to find points of commonality among various cultural-heritage institutions, while still recognising their points of difference. Digitisation, collaboration and convergence are key themes and characteristics of the GLAM sector and its associated theoretical discipline. The GLAM movement has seen many institutions seeking to work together to create networks of practice that are beneficial to the cultural-heritage industry and sector. With a new Australian cultural policy imminent, it is timely to reflect on the issues and challenges that GLAM principles present to national cultural-heritage institutions by discussing their current practices. In doing so, it is possible to suggest productive ways forward for these institutions which could then be supported at a policy level by the Commonwealth government. Specifically, this paper examines four institutions: the National Gallery of Australia, the National Library of Australia, the National Archives of Australia and the National Museum of Australia. The paper reflects on their responses to the Commonwealth's 2011 Cultural Policy Discussion Paper. It argues that by encouraging and supporting collecting institutions to participate more fully in GLAM practices the Commonwealth government's cultural policy would enable far greater public access to, and participation in, Australia's cultural heritage. Furthermore, by considering these four institutions, the paper presents a discussion of the challenges and the opportunities that GLAM theoretical and disciplinary principles present to the cultural-heritage sector.

Hiti mai te mana o Hawaiki - Let the Mana flow from Hawaiki Ao Po …….. Ao Po Ra'i nui e te fenua Tumu nui e te aa roa e

When indigenous people gather for the first time and all formalities observed, a flurry of information sharing begins and commonalities as well as distinctions are understood, carving ways forward in a harmonious way.

Review(s) of: 'Know My Name: Australian Women Artists 1900 to Now, Part One', by National Gallery of Australia, Canberra, 14 November 2020 until 9 May 2021; 'Part Two', is currently on display until 26 January 2022.

Review(s) of: ‘Sarah Contos: Nikola Tesla sends Theda Bara to Mars’ and ‘Jess Johnson and Simon Ward: Terminus’ by National Gallery of Australia, Canberra, until 26 August 2018.

Venturing overseas for the first time in over four years after a worldwide pandemic, with strict border closures and mask mandates lifting, was a little daunting. The opportunity to see art globally and the positioning of Aboriginal and Torres Strait Islander artists and their works on an international stage was a driving force for me to travel. Excitingly, the growing interest in First Nations art from Australia shows large representations of contemporary Indigenous artists regularly featured in major exhibitions and events each year, with 2022 being no exception.

Review(s) of: Contemporary Worlds: Indonesia, by Jaklyn Babington, National Gallery of Australia in Canberra from 21 June until 27 October 2019.

In May 2019 the National Gallery of Australia (NGA) announced the #KnowMyName initiative to increase representation of women artists. Although it has been almost 50 years since Linda Nochlin's seminal article 'Why Have There Been No Great Women Artists?' was published in 1971, and the second-wave feminism movement exposed systemic male privileging in the art industry, there remains a contemporary need to revisit and re-situate work by female artists within institutions and the larger artistic community.

Review(s) of: Energising emotion, by Sally Smart and Ballets Russes.