Women's art as indicator of social change

The support for feminism in Australia came not from the scientific field, where there was almost total opposition to it, but from literature, philosophy and the arts. An art museum is an arbiter of taste and a cultural building that points important ideas throughout its lifetime.

Melbourne 2006: marketing south-eastern Australian aboriginal art

The Aboriginal cultural sector is dynamic and highly valuable to the Australian economy, returning an estimated $100 million dollars annually. The majority of Aboriginal artists and art works have been perceived to be in northern Australia— eighty per cent of them are in fact in this region—but Aboriginal artists in south-eastern Australia are emerging as a strong force as they struggle for recognition from commercial and national galleries, curators, art dealers, newspaper critics, and buyers. If marketing is to be effectual, the Aboriginality of the art must be presented in a form that is understood and accepted by the audience. Thus changing public perceptions is crucial to marketing south-eastern Aboriginal art. The primary task of this article is to discuss this marketing priority for Aboriginal art and artists in south-eastern Australia, previously neglected in marketing literature. Specifically, the upcoming Melbourne Commonwealth Games are proposed as an opportunity for intensive marketing of the region’s Aboriginal arts.

Recent indigenous theatre in Australia:the politics of autobiography

Over the past decade Australian theatre has seen an increased profile for works written and created by Indigenous artists. This paper looks at the development of Indigenous theatre in Australia and considers how increased mainstream production opportunities have facilitated this expansion of Indigenous theatre practice. Based on the textual analysis of a number of key works, this paper looks at the development of the one-person show as the dominant genre for Indigenous theatre practices, and investigates the relationship between autobiography and the celebration of ‘otherness’. This study argues that this theatre work represents a shift away from conventional representations of Aboriginality towards a more self-determined expression of political identity.

Valuing the arts : theorising and realising cultural capital in an Australian city

For those who make and admire artistic works, there is no question of their value. However, for others interested in economic development, the value of the arts is often more tangential, contested and questionable. While the post-modern world of consumption and spectacle suggests to some academics and governments that the arts and cultural industries are the way of the future, others remain sceptical about their social and economic value. This is a theoretical as well as a practical issue this paper explores by offering a reconceptualisation of Pierre Bourdieu's concept of cultural capital as a way of re-assessing the value of the arts. The paper then applies this framework to quantify and qualify the value of the arts in one regional city in Australia – Geelong in Victoria – focusing on the work of two artists. The aim is to describe the interconnected processes by which the arts generate cultural capital in the form of confidence, image, individual well-being, social cohesion and economic viability. The analysis also highlights the ongoing power relations which prescribe artistic production, circulation and valuation. The implications of such a rethinking and application go well beyond one city and region to other places grappling with the relationship between artistic production and urban well being. By focusing on the broad-ranging process by which artistic value is created for individuals, groups, professionals, communities and governments, a model becomes available for other places to use in realising their cultural capital.

Abstract art : pain and discomfort

Abstract art is often the most baffling to a viewer who may search in vain for a figurative reference or recognisable element. Abstraction may refer to "art that stylises, simplifies, or deliberately distorts something that exists in the real world" (Heller, 2002: 14). Further along the spectrum, however, is abstract art that is non-representational or non-objective and is based on the isolation or interplay between shapes, colours and forms.

The aim of this article is to illustrate how non-objective art can cause discomfort and pain. Here I am using the term ‘non-objective’ to refer to art that does not have recognisable and identifiable imagery. I will make a link between Munch’s The Scream or The Cry and non-objective painting, and argue for a similarity of intent between these works, the works of Kandinsky and of artists loosely described as ‘Op artists’.

Faking it for real

Jean Baudrillard suggests that the supremacy of the simulacra is a modern development, reality a construction of the U.S. His argument, given the U.S. penchant for breaking and remaking the world in its own image (it is, in the language of Baudrillard, both iconoclast and iconolater), is strong. However, writers, artists, and philosophers have been pondering the reign of illusion for millennia. Plato described the world as a place of simulations that left us wanting. For Shakespeare, the world was a stage of fools; the play was that of an idiot. Goya presented the world as a dream of reason that gave birth to the monsters he painted. Borges (like Shakespeare and also perhaps Goya and Plato) was obsessed with what he refers to in "Tlön, Uqbar, Orbis Tertius" as the "atrocious or banal" idea that reality, as we know it (which is, of course, the only perspective of it that we can have), is fake. The three books under review here, Ian Miller's Faking It, Penny Cousineau-Levine's Faking Death: Canadian Art Photography and the Canadian Imagination, and Paul Matthew St Pierre's A Portrait of the Artist as Australian: L'Oeuvre bizarre de Barry Humphries, can be considered additions to the oeuvre fascinated and troubled by what Borges calls the "phantasmagorias" of our world

Building audiences for Indigenous theatre : a case study of Kooemba Jdarra

This paper uses audience research data to examine the positioning of Indigenous theatre in the Australian theatre environment. Kooemba Jdarra is an Aboriginal theatre company in Brisbane, Australia, with a distinguished history of developing Aboriginal artists, writers and directors. However, it has struggled to maintain its positioning because of the perceived risks of participation by audiences who prefer to see Indigenous theatre within the program of the mainstream state theatre company. The paper concludes with strategies for decreasing risk for audiences and for greater advocacy by the company in positioning itself in the mainstream Australia theatre environment.

Professional development : the singing ear sees and does

This paper argues that professional development is seen as one element that can lead to the types of change that create more effective schools and improve the learning outcomes of students (Rhodes and Houghton-Hill, 2000). As change is a multifaceted phenomenon that teachers find difficult, it questions and challenges education reform that requires teachers to significantly change their practices and approaches to teaching without significant long-term ongoing support for that change. While there is an emphasis on teachers to be lifelong learners and teaching is viewed as a dynamic and growing profession, many teachers will require ongoing professional development to support such change. This paper examines the relationship between professional growth and professional development and its impact on teacher change. This paper concludes with some views from artists-in-residence and from music teachers regarding onsite professional development and the need for ongoing professional development specifically in African music. The authors contend that an expanded program of professional development in music is likely to be more effective if it is onsite and long-term where broad educational views are considered and participants’ knowledge valued.

Changing perceptions : marketing south eastern Australian aboriginal art

The Aboriginal cultural sector is dynamic and highly valuable to the Australian economy, returning an estimated $100 million dollars annually. The majority of Aboriginal artists and art works have been perceived to be in northern Australia-eighty percent of them are in fact in this region-but Aboriginal artists in South Eastern Australia are emerging as a strong force as they struggle for recognition from commercial and national galleries, curators, art dealers, newspaper critics, and buyers. If marketing is to be effectual, the Aboriginality of the art must be presented in a form that is understood and accepted by the audience. 1 Thus changing public perceptions is crucial to marketing South Eastern Aboriginal art. The primary task of this paper is to discuss this marketing priority for Aboriginal art and artists in South Eastern Australia, previously neglected in marketing literature. Specifically, the upcoming Melbourne Commonwealth Games are proposed as an opportunity for intensive marketing of the region's Aboriginal arts.

From crystals to pixels: new technology in the documentary work of John Hughes

Film technology, in the broadest sense, embraces a vast array of knowledge, skills, tools, and systems. These include the codes and conventions of screen representation at the centre of much screen scholarship. The electro-mechanical tools of filmmaking are less often the focus of academic study than these codes and conventions, but they are central to them and to the daily work of artists and educators in the field of screen production. This paper traces the scope and significance of technical change, for independent film making, over the past four decades. Melbourne documentary filmmaker John Hughes provides a varied and expansive oeuvre through which to arrange an historical equipment list.

The development of cultural entrepreneurs through new venture cases in the business classroom

Artists and workers in the creative industries who embody the essence of creativity are thwart by economic values in delivering their art work or creative concept to consumers. This is particularly evident for students in courses in creative industries who graduate with entrepreneurial aspirations, but not the means to pitch their creative concept or build the business model for the new venture. This paper analyses a university business course developed to take cultural entrepreneurs through venture building as a live case in the creative economy.

Building capacity in an indigenous nonprofit artistic enterprise

Growth in Indigenous artistic enterprises has attracted government funding, cultural tourists, and arts managers with a strong interest in cultural democracy and, more recently, an interest in business models for these artists. This paper documents a case study of Arilla Paper, an artistic enterprise in Queensland, Australia, where a group of Aboriginal women, worked on making paper from natural materials, to create a sustainable non-profit arts business. Sections of the business manual developed for these women, together with primary and secondary data supporting the Indigenous creative industries, are presented. The paper concludes that success in such ventures requires a social entrepreneurship model of funding that recognises the challenges of Indigenous cultural ownership and capacity building in business practice.