Papers by Caroline Jordan
Review(s) of: Art and Organisation: Making Australian Cultural Policy, by Deborah Stevenson, Bris... more Review(s) of: Art and Organisation: Making Australian Cultural Policy, by Deborah Stevenson, Brisbane: University of Queensland Press, 2000; 213pp., p.b. (ISBN 0 7022 3003 0).
Routledge eBooks, Jun 20, 2023
B1 - Research Book Chapter
Australians have always loved a good show, as this new collection of essays demonstrates. The sig... more Australians have always loved a good show, as this new collection of essays demonstrates. The significance of exhibitions goes beyond mere entertainment. From the 1850s to the present, exhibitions have been a marketing tool for Australia’s advancements in global trade, migration and tourism. They have also been powerful vehicles for conspicuous consumption, civic progress, social status, and identity – be it local, national or international. This multi-disciplinary collection presents new research on a fascinating variety of exhibitions from nineteenth-century World Fairs to late twentieth-century Expos. Contributors are leading museum professionals and academics from a range of disciplines including art history, the history of design, literary studies, indigenous history, cultural and social history and the history of science. Seize the Day examines the complex role of exhibitions within Australia’s cultural, commercial and artistic histories. Exhibitions are dynamic sites for the ...
Australian Historical Studies, 2021
From 1950, the Fulbright Program of academic exchange brought a stream of visiting American schol... more From 1950, the Fulbright Program of academic exchange brought a stream of visiting American scholars to Australia and Australians to the USA. The first wave of these scholars to study Aboriginal society and culture, principally through the discipline of anthropology, played a significant role in developing the field of Aboriginal studies, and in bringing Aboriginal art, music and dance into greater public prominence in the 1950s and early 1960s. We reconstruct these exchanges, track the influence of notable scholars and identify the contribution they made to researching, teaching and collecting Aboriginal art. In featuring the role of women who contributed expertise to the field, as postgraduates, senior researchers or as wives accompanying academic husbands, we reveal their importance and expose a little-known feature of the Program. Scholar Ed Ruhe is recognised for bringing his pioneering collection of Aboriginal art to the USA; this article shows he was not alone.
Labour History: Volume 117, Issue 1, 2019
Librarianship has long been recognised as a numerically female-dominated occupation. Despite demo... more Librarianship has long been recognised as a numerically female-dominated occupation. Despite demonstrating a standard pattern of a sex-segregated labour force, it has suffered neglect in historical studies of women’s work. This article positions Australia’s librarians in the history of white-collar public service workers, and librarianship as illustrative of important themes of twentieth-century women’s labour history. For smart, educated, ambitious women, librarianship offered professional standing, economic security and opportunity for advancement. Strategies of overt discrimination, however, deliberately kept women librarians out of senior administrative positions and confined them to the lower-paying jobs. Librarians in state and municipal libraries worked under public service regulations that established a dual labour market of wages and conditions for clerical and professional workers. Key decisions between 1918 and 1922 explicitly advantaged men in recruitment, wages and prom...
Australian and New Zealand Journal of Art, 2018
Australian and New Zealand Journal of Art, 2000
The lack of clarity in dividing colonial women artists' work as public and private is discuss... more The lack of clarity in dividing colonial women artists' work as public and private is discussed, highlighting their identity as 'public amateur' and 'private professional'. It is suggested that women amateur artists' private-based productions such as accounts on natural history, travellogues and picture-records were published in a manner that did not threaten male dominance in the sphere.
Australian and New Zealand Journal of Art, 2013
Review(s) of: Modernism and Feminism: Australian Women Artists 1900-1940, by Helen Topliss, (Craf... more Review(s) of: Modernism and Feminism: Australian Women Artists 1900-1940, by Helen Topliss, (Craftsman House, 1996) $85.
Australian and New Zealand Journal of Art, 2015
Australian and New Zealand Journal of Art, 2014
On the eve of the Pacific War in 1942, an exhibition of art from New Zealand sat assembled near W... more On the eve of the Pacific War in 1942, an exhibition of art from New Zealand sat assembled near Wellington in readiness for a tour of North America and Canada. The exhibition was the product of a t...
Journal of Contemporary Asia, 2013
Review(s) of: Heysen to Heysen: Selected letters of Hans Heysen and Nora Heysen, by Catherine Spe... more Review(s) of: Heysen to Heysen: Selected letters of Hans Heysen and Nora Heysen, by Catherine Speck, ed., Canberra: National Library of Australia, 2011.
Fabrications, 2011
The early histories of the four art galleries founded in regional Victoria in the late nineteenth... more The early histories of the four art galleries founded in regional Victoria in the late nineteenth century, in Ballarat (1884), Warrnambool (1886), Bendigo (1887) and Geelong (1896), are closely intertwined: they observed and copied each other as rivals and precedents; they were tied to the hub of Melbourne like spokes on a wheel; they lobbied over the same portion of ever-declining government funding, and they drew on the same pool of experts to advise them. Single-institution histories tend to ignore these connections. This article is an argument for examining their inter-relationship and the ways in which they were collectively shaped by metropolitan and transnational influences. Routinely borrowing from each other, the regional galleries had a close advisory relationship with the National Gallery of Victoria (NGV) in Melbourne, as the NGV had with the National Gallery in London. While the responsibility for the foundation of regional galleries lay with local communities, they looked traditionally both to the colonial capital in Melbourne and to the capital of the British Empire for models to imitate. In turn, the metropolitan art museums of Melbourne and London looked to the Australian provincial network as a natural sphere of their influence.
Gender & History, 2020
The Fulbright Program has, since it was established in 1946, facilitated international scholarly ... more The Fulbright Program has, since it was established in 1946, facilitated international scholarly exchange to and from the United States on an unprecedented scale.1 This programme, designed to foster a global intellectual leadership, was from the outset inclusive of elite women and therefore offers opportunities to evaluate the influence of gender. Although the programme was legislated by a male-dominated Congress and administered by a male-dominated bureaucracy, women nonetheless had a minority presence.2 Some served on the Board of Foreign Scholarships (BFS) which administered the programme, some were appointed as directors of bi-national commissions set up in partner countries and others were recipients of awards.3 Scholarship on the Fulbright Program has recognised that the majority of grant recipients were men.4 Yet neither the meaning of the minority status of women in the programme nor its impact on the experience of women themselves has been questioned. This programme which has been the most far-reaching scheme for fostering educational exchange across the world has not been exposed to critical gender analysis. The programme’s stress on the personal attributes of candidates created opportunities for gendered interpretations of merit. Selection committees in participating countries were strongly advised to give ‘as much weight to character and personality as you do to academic standing’. Grantees were to become ‘unofficial ambassadors’ so the successful students ‘must be emotionally stable and the kind of persons . . . who will mix well with United States students’.5 In evaluating these non-academic criteria for Fulbright scholars, committees were bound to be influenced by expectations of gender norms. The Fulbright Program was skewed heavily towards male scholars. Hence its standards of character, personality and behaviour – what constituted a desirable type of grantee – were formed with men in mind. Women who succeeded under these conditions were effectively ‘honorary men’, up to a point. Plant biologist Adele Millerd was among the first Australians to receive a Fulbright grant in 1950. Millerd vividly remembered, some sixty years later, the humiliation she felt in the selection interview before an all-male panel. One of the men ‘ran his eyes up and down’ her and asked how
Australian and New Zealand Journal of Art, 2014
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Papers by Caroline Jordan