Every day I wait

A solo exhibition - first showing - Arc One Gallery titled 'Every Day I Wait' with accompanying catalogues by Stephen Garret and Melissa Amore

Exhibitions include:
Black Box White Cube; Aspects of Performance in Australian Art, Victorian Arts Centre with accompanying catalogue; curated by Steven Tonkin

Anne Scott Wilson, Photographs and Video, Conny Dietzschold Gallery 2012

Frayed

A solo exhibition using large scale video projection and sound with accompanying catalogue 'Semblance at the Top' by Melissa Amore

Phone

Array

Coproduction and Casula's Pacifica Program: Initial research findings

This research takes Casula Powerhouse Art Centre’s Pacifica program as a case study to investigate the ways in which museum and galleries are involved in coproduction with culturally diverse communities. Coproduction is defined here as:Museum and gallery practice conducted jointly with communities or other external partiesThe benefits of coproduction are that it leads to more effective and efficient public services (including arts and cultural services) while also building the skills and capacity of the community. However coproduction is not easy, particularly because it requires public service providers and communities to work in ‘equal and reciprocal’ relationships.As an organisation with strong and strategic alliances to its governing body (Liverpool City Council), Casula brings a strong capacity for coproduction. Internally it has support and commitment to coproduction from across the organisation. The staff at Casula bring exceptional relational skills. The organisation’s capacity to coproduce draws heavily on their skills as cultural brokers and experience in community cultural development practice. The communities Casula works with bring strong cultural knowledge and practice, along with a desire to maintain and preserve these community resources. Casula’s coproduction work also meets external political needs for public services to deliver increased public value as well as a greater diversity in the profile of arts audiences.The key challenge for Casula Powerhouse’s coproduction work is the extent to which it aims for joint delivery of public services through ‘equal and reciprocal’ relationships with the community, or uses coproduction as a tool for community engagement and audience development. Advocates of coproduction in the public sector argue for its value as a means of delivering more effective and efficient public services while at the same time building the skills and capacity of local communities. A critical element of coproduction according to these writers and scholars is the development and delivery of public services through ‘equal and reciprocal’ relationships between providers and users.The value of coproduction for Casula Powerhouse and the Pacifica program is its use as a means of community engagement and audience development. Coproduction is a feature of the components of Pacifica that enable the participation of the community and provide entry points for audiences to engage with contemporary art. Evidence of this approach to coproduction can be seen in the dual ‘stakeholder’ and ‘audience’ role that the community have within the Pacifica program. The community is therefore both a contributor to Pacifica and a beneficiary of this work. The benefits Casula Powerhouse receives from the community’s involvement in Pacifica are greater public value of its work and stronger engagement with communities and audiences.Although coproduction may not be the focus of all aspects of Pacifica, the involvement of Pacific Islander communities in the program results in exhibitions and public programs that are not typical contemporary art gallery offerings. Pacifica is further evidence of Casula Powerhouse’s innovative and entrepreneurial approach to gallery practice. The use of coproduction also ensures Pacifica offers an authentic and distinctive gallery experience.

Stand and deliver

Stand and Deliver is an installation that incorporates elements of video, painting and drawing within the format of the lecture performance to pursue a subjective engagement with feminist histories.

Encountering the ‘other’: interpreting student experiences of a multi-sensory museum exhibition

The Immigration Museum Melbourne, Australia, launched the Identity: Yours, Mine, Ours exhibition in 2011. Aimed primarily at secondary school students, this long-term installation seeks to foster reflection on identity and belonging, as well as dialogue about racism, through an interactive, immersive museum experience. This paper describes a multi-method research project, which included narrative interviews, focus groups and video diaries with 47 Year 11–12 students from three secondary schools in Victoria, Australia, and discusses each method's contribution to an overall empirical understanding of the installation's impact on students' experiences. Emerging findings suggest the ways in which the exhibition space supports students to encounter and engage with individual stories and experiences, thus moving beyond an abstract tolerance of cultural diversity by unsettling the self and destabilising stereotyped and prejudiced interpretations of the ‘other’. The paper concludes by discussing the potential for triangulated qualitative approaches to provide rich emic perspectives on multi-sensory exhibitions.

Toward a pedagogy of feeling: understanding how museums create a space for cross-cultural encounters

In this chapter I engage with two developments – a growing understanding that citizenship involves political activity on the part of citizens in the public sphere and that affective relationships are an important aspect of this activity – to engage with the increasing use of affective interpretation strategies within exhibitions. I argue that the use of these strategies can be understood as the beginning of a new moment in museological practice that is concerned not so much with finding ways to become more pluralistic in who is represented within museums but with building opportunities for cross-cultural encounters in ways that question established relationships between self and other. I call this new moment “a pedagogy of feeling,” marking it as distinctive from both “a pedagogy of walking,” a term used by Tony Bennett to encapsulate the specific exhibition strategies that supported evolutionary narratives, and “a pedagogy of listening,” which I suggest marks the moment when exhibition practices were concerned with finding ways to increase the number of voices found in museum exhibitions as part of a civic program to encourage greater degrees of tolerance. Central to a pedagogy of feeling is, I argue, the idea of a “terrible gift” (as Roger Simon calls it), which is enacted through an exhibition syntax that uses a wide variety of affective or sensorial interpretation strategies.

The swimmer (The Bridge Project)

The Bridge Project (The Swimmer). The project produces two substantive outcomes: 1. The creation of a (multi-projection) video installation work for the Kingston Art Centre. The work transforms a redundant 3rd story walk-bridge into a virtual swimming pool. 2. In the process of transforming the walk-bridge, the project creates a new permanent and highly visible exhibition space for artists working in digital media. This allows the possibility for producing a series of works (or “outputs” if you like) that respond to the site and its cultural setting. It also provides an exhibition space for other staff and students working in digital media.

Formica

The title of the work, Formica, speaks both to the work’s insect motif – formica is Latin for ant - but also to the 2-dimensional nature of the projection screen – Formica is also a kind of decorative laminate surface. This is Grennan’s second video installation work commissioned specifically for the Kingston Art Centre’s Bridge Space. Following on from the first project - which transformed a dilapidated 3rd story pedestrian corridor into a virtual swimming pool - this work continues to explore the residual meanings of the corridor as a liminal, in-between, or non-space. The new work seeks to again reply aesthetically and poetically to the site’s external setting dominated as it is by the heavy commuter traffic along the Nepean Highway. Scale is central to the work. In Formica, Grennan constructs a scaled-down Perspex replica of the walk-bridge, and with the help of Patrick Honan and Museum Victoria (where Patrick, an entomologist, is head of live exhibits), he populates the corridor with live Bull Ants. The work records these colossal ants as they negotiate the non-space of the corridor and fulfil their metaphorical roles as standardised commuters. With nowhere to go, however, the ants subvert this assigned role and exhibit far more nuanced and individuated behaviour as they investigate, probe, prevaricate, dawdle, or preen idly as though performing some insectile version of Waiting for Godot.

Museum exhibition practice: recent developments in Europe, Canada and Australia

'Permanent' museum exhibitions or galleries are usually planned for a life of seven to ten years, but not infrequently survive for thirty years or more. When change finally occurs, it addresses new approaches in ideology, disciplines, technology and fashion. This chapter surveys such shifts in transnational history and Aboriginal cultures presented in museums.