The entrepreneurial arts leader : cultural policy, change and reinvention

"The Entrepreneurial Arts Leader is grounded in an understanding of cultural policy, management, art history, entrepreneurship and creativity, and is cross-disciplinary. It features a comprehensive bibliography and models of entrepreneurial arts leaders, and will be of seminal importance to arts managers, administrators, cultural policy makers and students."--BOOK JACKET

Tales from camp Wilde: queer(y)ing environmental education research

This paper questions the relative silence of queer theory and theorizing in
environmental education research. We explore some possibilities for queering environmental education research by fabricating (and inviting colleagues to fabricate) stories of Camp Wilde, a fictional location that helps us to expose the facticity of the field’s heteronormative constructedness. These stories suggest alternative ways of (re)presenting and (re)producing both the subjects/objects of our inquiries and our identities as researchers. The contributors draw on a variety of theoretical resources from art history, deconstruction, ecofeminism, literary criticism, popular cultural studies, and feminist poststructuralism to perform an orientation to environmental education research that we hope will never be arrested by its categorization as a “new genre.”

Exhausting dance : performance and the politics of movement, by Andre Lepecki

The article reviews the book "Exhausting Dance: Performance and the Politics of Movement," by Andre Lepecki.

Communicating climate change: public responsiveness and matters of concern

Since climate change captured global attention in the 1990s, the private individual, addressed as a member of a concerned public, has occupied a focal position in the discourse of environmental amelioration. Recently, a range of prominent books, films and television programs — for example, Tim Flannery’s The Weather Makers (2005), Al Gore’s An Inconvenient Truth (2006) and ABC TV’s Carbon Cops (2007) — have promoted the role of the individual as the ‘starting point’ for effective environmental action. These texts assume that the provision and comprehension of sufficient information to the public about climate change will change individual habits and practices. This accords with the ‘information-deficit model’ in environmental communication research, a concept that asserts a direct connection between individual awareness and response, and collective action. This paper discusses the limitations of this model, pervasive in both popular and official approaches to climate change. It will interrogate the philosophical assumptions that underlie it, in which nature and culture are polarised and the human is positioned in a certain, and separate, relationship to the non-human world — an inheritance of the very logic that enables the continued exploitation of nature. Applying Bruno Latour’s notion of a ‘matter of concern’ to climate change, where the gathering of a range of irreducible forces and im/materialities continually produce these phenomena, this paper proposes that, in thinking about climate change as essentially unrepresentable, a different mode of public engagement with the issue is asserted.

Metaphoric use of the mountain symbol in painting

This paper consists of two parts. The focus of Part I is the symbol of the mountain and its metaphoric use in art history and in the mythology of many cultures. Part II links an examination of twentieth century contemporary artists and relevant issues, the mythology and historical references covered in Part I and the paintings that make up the body of the thesis. The study is concerned with the role of the symbol and the form of its interpretation in the expression of ideas and images that are relevant to it. These themes have been developed in order to place the paintings in a context of continuity and establish iconographic links with the past. One particular site has been chosen through which to examine the symbolic associations between the mountain and the metaphoric quest. The metaphor of pilgrimage to the site and of searching for a lost unity is implicit in this process. The realisation reached at the summit confirms the significance of this journey. Each painting is discussed and linked with the themes that are relevant to it, linking the research recorded in Part I with the execution of the paintings, aiming at a synthesis of theory and practice.

Building capacity or burning out? Supporting indigenous performing artists and filmmakers

Public support for both Indigenous filmmaking and the live performing arts has a number of common features: at a national level the present schemes were introduced in the early 1990s, and both sets of schemes aim to improve the capacity of Indigenous practitioners to tell their stories to national and international audiences. Yet, in the late 2000s, Screen Australia’s support for filmmaking has contributed to well-known successes, whereas Australia Council support for performing arts has been withdrawn from two of the three state-based Indigenous companies. This article reviews the capacity-building strategies offered by the funding agencies to Indigenous filmmaking and performing arts. While the film policies appear to have been more successful than those in the performing arts, both sectors continue to experience obstacles to capacity-building for Indigenous practitioners and organisations.

Seeing as believing – or is it?

This article explores aspects of the life and art of the Australian artist Arnold Shore, the subject of my recently published book Arnold Shore – Pioneer Modernist, Macmillan Art Publishing, 2009. The pantheon of Australian art history celebrates particular artists and their visual output. These designated artists become the celebrated and orthodox names, who are seen as defining specific cultural and historical moments. Arnold Shore is cursorily acknowledged in many Australian art history accounts, most often for his teaching at the modernist school he co-founded in 1932, The Bell – Shore School. Much about his art and life remains hidden with the National Gallery of Victoria owning thirteen of his works, none of which are on display. Whilst suggesting there are specific reasons for Shore`s place in art history not being fully acknowledged, the article further investigates why some artists are consigned to a peripheral role, only for their significance and importance to be re-discovered at a later date after historical revisionism. Why is this so? Who are the tastemakers and gatekeepers that actively suppress artists stories and their contributions from receiving wider currency? What factors potentially conspire to obscure or push aside one group to the detriment of others? These questions are increasingly prescient in the twenty-first century as globalisation and spectacle capitalism, compete with representative historical perspectives; issues raised in the latter part of the article.

Children's content regulation and the 'obesity epidemic'

Some 30 years ago, Australia introduced the Children's Television Standards (CTS) with the twin goals of providing children with high-quality local programs and offering some protection from the perceived harms of television. The most recent review of the CTS occurred in the context of a decade of increasing international concern at rising levels of overweight and obesity, especially in very young children. Overlapping regulatory jurisdictions and co-regulatory frameworks complicate the process of addressing pressing issues of child health, while rapid changes to the media ecology have both extended the amount of programming for children and increased the economic challenges for producers. Our article begins with an overview of the conceptual shifts in priorities articulated in the CTS over time. Using the 2007-09 Review of the CTS as a case study, it then examines the role of research and stakeholder discourses in the CTS review process and critiques the effectiveness of existing regulatory regimes, both in providing access to dedicated children's content and in addressing the problem of escalating obesity levels in the population.

Dalek in landscape

The work generates theoretical connections between art history, science - empirical experience,and popular culture. Landscape is used as a medium and process to explore these connections. - landscape appreciation and its origins - the coloniser within the landscape (while landscape seems to be complicit with the colonising force, the land itself often underminds it) - landscape and coloniser as cyborg (an organic core with a 'man-made' chassis).