"The work features over 280 works by more than 170 Australian artists drawn from a period of acquisitions which began with the consitution of the MCA in May 1989."--p. 17.

Commemorating the Irish Famine: Memory and the Monument explores the history of the 1840s Irish Famine in visual representation, commemoration and collective memory from the 19th century until the present, across Ireland and the nations of its diaspora, explaining why since the 1990s the Famine past has come to matter so much in our present.

Creative Frictions explores the relationship between visionary aspects of practice and policy. Despite over 30 years of arts and cultural policy attention, there remains a widespread view among the general public and artists alike that creative production does not reflect Australia’s culturally diverse population. Australia’s increasingly complex society can no longer be confined to ‘essentialised’ or traditional definitions of ethnic communities. While this diversity and its emerging complexity can be ‘celebrated’ as a source of creativity and innovation, it can also give rise to social, political and creative challenges. A key challenge that remains for the arts sector is its ability to support the creative expression of cultural difference. One measure of inclusive creative production is to look at the participation of artists of non–English speaking backgrounds (NESBs)—a problematic term discussed in the book. There are half as many NESB artists compared to those of other professions participating in the workforce, and while under-representation is an issue for management in the arts sector, the question of representation also benefits from being understood more broadly beyond the narrow sense of multiculturalism as a tool to manage cultural difference. This book explores the crucial role of creative leaders and how they work with the ‘mainstream’ while maintaining their creative integrity and independence to generate a ‘virtuous’ circle of change. Creative Frictions argues that it is the NESB artists who lead change in the arts sector and that creative and organisational leadership working in partnership make creative use of ‘friction’ and develop the necessary ‘trust’ to generate the ‘traction’ for a supportive multicultural arts milieu.

Published by Quintus Publishing Limited, a joint initiative of Arts Tasmania and the University of Tasmania, this book showcases 80 of the more than 800 works of art commissioned under the Tasmanian Governments' 'Art for Public Buildings Scheme'. The 112 pages feature more than 250 stunning colour photographs of the art works in situ and are testimony to the creativity of Tasmania's artists and the thriving art context in general.

After almost seven decades, Britain and France, nations with divergent political cultures and heirs to contrasting philosophies of 'integration', have proclaimed the failure to integrate their post-war ethnic minorities: at this present time, the ‘Muslim’. The ‘argument’ of this book, therefore, is a question: despite the legal, political and social commitments that emerged from the events of the Holocaust, why do both nations continue to govern minorities on the sites of the law and race? Through comparative readings of British Asian and Franco-Maghrebian literatures, the author examines the contours and patterns of British and French post-war governance and racism over four decades. Departing from prevailing theories in postcolonial studies that situate post-war racism within the narrative of colonialism or the politics of the nation-state, The Politics of Integration shows how we must re-appraise the inter-war histories of minorities if we are to ask more meaningful questions about the present. We are invited to take stock of how well theorization of post-war ethnic populations and their politics have served us in terms of asking: what does history tell us, and how and where do we - Europe and its minorities - go from here? As such, the book will appeal to scholars in multiple disciplines in the humanities and social sciences such as history, philosophy, literature, cultural and postcolonial studies.

A group of renowned scholars, collectors, artists, and curators grapple with the challenging notion of defining "Islamic art."

Deceptively simple, Valamanesh's work is often made with elemental substances, natural materials found objects - for example Persian Carpets, an old photo of his grandmother or a pair of worn shoes resonating with cultural and personal associations.

Introducing about Australia: Literature and culture.