Kerry Freedman's Teaching visual culture : curriculum, aesthetics and the social life of Art

Teaching Visual Culture: Curriculum, Aesthetics and the Social Life of Art, Kerry Freedman (2003) New York: Teachers College Press & Reston: National Art Education Association, xiv + 187 pp., ISBN 0-8077-4372-0 (hbk £29.95)

This critical review has two principal goals. First of all, it will briefly summarize how Kerry Freedman’s ambitious eight-chapter monograph initially sets in train a number of key themes, all of which are aimed at enlarging if not transforming visual arts practice. Secondly, it will critically disclose a small set of pivotal assumptions which call any uncritical support for visual culture as the panacea for arts education into question. More particularly, we shall conclude, the logical underpinnings of Teaching Visual Culture are open to serious doubt in at least two respects.

'It's not enough for the work of art to be great' : children and young people as museum visitors

This paper examines trends in the understanding of children as visitors to art and natural history museums. It begins by examining research into the qualities of engagement by museum visitors generally. It then addresses the specific challenges posed by children as visitors, and the responses developed by museums to enhance their engagement. Three strategies are identified: social/family-centred interactivity, immersive experiences and engagement through interpretive dialogue. The three examples of programs of children’s engagement examined in this paper represent a major departure from such models towards a profoundly social form of interaction. The paper argues that these strategies are museums’ responses to shifts in pedagogical theory, and have been developed to increase the engagement of the child-visitor with exhibitions. Such strategies represent a genuine engagement between adults (both museum staff and parents) and children, and an opportunity for children to define the experience of cultural engagement. The consequence of this is a redefinition of the cultural role of museums in relation to children.

Wheel of fortune : the re-gifting of art-life

My essay for the Waterwheel project entitled “Wheel of fortune: re-gifting art-life” will examine the Waterwheel project from the point of view of gift economies and discuss the benefits and sustainability of this model for collaboration and cooperation. This essay builds upon the history of gift economies, focusing on the gift as a mode of collaboration and platform for exchange. The alchemical notion of the gift that Gordon Matta- Clark café “FOOD” offers will be discussed as a precursor to the transformation of relations evident in the workshop series organized by Erin Manning and Brian Massumi. In particular, this essay will emphasize the way transformation has been used to rethink the gift as modeling of collaboration and re-imagining of the ties between research creation and social activism. From these discussions the context and ethos by which to understand the aims of the Waterwheel project will be addressed.

The films of John Hughes: a history of independent screen production in Australia

ABSTRACTIn The Films of John Hughes: A history of independent screen production in Australia filmmaker and academic John Cumming tells the ongoing story of Hughes’ work illustrating the delicate balance of individual, collective and corporate agendas that many contemporary artists need to negotiate. This story begins in the 1960s with a generation of intelligent, socially engaged young people who challenge established power structures, conventions and stereotypes in art, politics and the media. Experiments were being made with grassroots democracy, with new social formations and new ways of seeing and communicating. The book also pays attention to earlier periods of cultural and political activism that captured Hughes’ imagination in the 1970s and became the subject of a number of his films over a period of nearly forty years. Through these films Cumming traces the outline of post-war film culture and production in Melbourne from the 1940s and sets this history within the context of international trends in independent filmmaking throughout the 20th Century and into the 21st.The work of an independent filmmaker has always included a great deal more than directing films. Working in an artisanal mode, he or she often performs, or has a hand in, every aspect of craft at the same time as engaging in discussion and organisation around the wider sphere of screen culture and industry. In addition to having proficiency as a producer, photographer, sound recordist, editor, distributor and exhibitor of films, there is research, organisation, lobbying, entrepreneurship and mentoring to be done. As an independent producer-director, John Hughes has engaged in all of these activities – often simultaneously. He is also a scholar, writer, organiser, activist and teacher. As a television bureaucrat he was both eminent and innovative, and through his filmmaking he has become a leading historian of Australian documentary cinema. ‘… that view – that art and politics are inherently at odds – is still lurking around. It is at the heart of cultural conservatism; and John Hughes’s film-making, from the 1970s to the present, confounds its proponents. His cinema is at once crowded, detailed, elegant and absolutely lucid; at the same time, it is shot through with political and historical understandings.’ Sylvia Lawson, ‘Such a Bloody Wonderful Place’, Inside Story, 28 April 2013.

Waverley Park: whose social history

The inescapable conclusion of the Committee, regardless of the ways in which it approached the question, was that Waverley Park was of great historical and social significance to Victoria in the second half of the twentieth century. Waverley Park is like no other sporting ground in Victoria, before or since: and the impact of the plan to build it, the use of the ground, and the numerous controversies that have surrounded it throughout its existence have contributed to that significance.

History of contact and change in the Goroka Valley, Central Highlands of New Guinea, 1934-1949

The thesis traces the interaction of the Goroka Valley people with European and coastal New Guinean intruders during the pacification stage of contact and change. In this 15 year period the people moved from a traditional subsistence culture to the threshold of a modern, European-influenced technological society. The contact experiences of the inhabitants of the Valley and the outsiders who influenced them are examined, using both oral and documentary sources. A central theme of this study is the attempts by Europeans and their coastal New Guinean collaborators to achieve the pacification of a people for whom warfare has been described as 'the dominant orientation'. The newcomers saw pacification as being inextricably linked with social, economic and religious transformation, and consequently it was pursued by patrol officers, missionaries and soldiers alike. Following an introductory chapter outlining the pre-contact and early-contact history of the Goroka Valley people, there is a discussion of the causes of tribal fighting in Highlands communities and two case studies of violent events which, although occurring beyond the Goroka Valley, had important consequences for those who lived within its bounds. The focus then shifts to the first permanent settlement of the agents of change -initially these were coastal New Guinean evangelists and policemen - and their impact on the local people. A period of consolidation is then described, as both government and missions established a permanent 'European presence in the Valley'. This period was characterised by vigorous pacification coupled with the introduction of innovations in health and education, agriculture, technology, law and religion. The gradual transformation of Goroka Valley society as a result of the people's interaction with the newcomers was abruptly accelerated in 1943, when many hundreds of Allied soldiers occupied the Valley in anticipation of a threatened Japanese invasion. Village life was disrupted as men were conscripted as carriers and labourers and whole communities were obliged to grow food to assist the Allied war effort. Those living close to military airfields-and camps were subject to Japanese aerial attacks and the entire population was exposed to an epidemic of bacillary dysentery introduced by the combatants. However the War also brought some positive effects, including paradoxically, the almost total cessation of tribal fighting, the construction of an ail-weather airstrip at Goroka which ensured its future as a town and administrative and commercial centre, and the compulsory growing of vegetables, coffee, etc, which laid the foundations for a cash economy and material prosperity. The final chapter examines the aftermath of military occupation, the return of civil administration and the implementation of social and economic policies which brought the Goroka Valley people into the rapid-development phase of contact. By 1949 Gorokans were ready to channel their aggressive energies into commercial competitiveness and adopt a cash-crop economy, to accept the European rule of law, to take advantage of Western innovations in medicine, education, transport and communications, to seek employment opportunities at home and in other parts of the country and to modify their primal world view with European religious and secular values. A Stone Age people was in process of being transformed into a modern society.

Cultural destruction and identity politics : targeting the history of Iraq

Since its inception in 1921, a number of successive regimes have sought to politicize Iraq‟s cultural history in order to develop national identity and foster social cohesion across this rich and complex nation. Foremost among these were the Baath party, particularly under the rule of Saddam Hussein, who used much of the nation‟s Oil wealth to undergo an extensive nation-building campaign. However, identity in Iraq is far from monolithic and various factions have long resisted the state sanctioned version of “Iraqi” identity and asserted alternative histories and narratives to underpin their own identity politics. With the invasion of Iraq by Coalition forces in 2003, however, came an unprecedented era of cultural destruction. Following the devastation of the battle phase of the war, there were further attacks on Iraq‟s cultural heritage including everything from the carefully choreographed removal of the giant bronze statue of Saddam in Firdos square, through to military bases set up at sensitive archaeological sites such as the ancient city of Babylon. In addition, Iraqi civilians targeted the cultural history of their nation with wanton looting and arson, as well as systematic attacks on sites of archaeological or ethno-religious significance. More recently, the Shia and Kurdish dominated Iraqi Government have organised the “Committee for Removing Symbols of the Saddam Era” and drew up plans to purge the state of its Sunni dominated past.

This paper argues that the unprecedented scale and magnitude of the destruction of Iraq‟s cultural history has played a part in eroding the various intersecting and overlapping versions of identity politics in Iraq. In turn, this has provided fertile ground for terrorists and sectarians to plant the seeds of their own narrow and deadly ideologies. This has brought about the rise of ethno-religious based violence and seen a series of bloody and protracted conflicts emerge between previously peaceful and compatible factions. In this way, Iraq serves as a powerful case study in furthering academic discussion on the complex inter-relationships between cultural and historical destruction and identity politics, sectarianism, violence and democracy.

Targeting the cultural history of Iraq : implications for national identity and democracy

Since its inception in 1921, a number of successive regimes have sought to politicize Iraq’s cultural history in order to build nationalistic sentiment and social cohesion across this rich and complex nation. Foremost among these were the Baath party, particularly under the rule of Saddam Hussein, who used much of the nation’s Oil wealth to undergo an extensive nation-building campaign. However, with the invasion of Iraq by the US in 2003 came the deliberate destruction and blatant negligence of the occupying forces. In addition, Iraqi civilians targeted the cultural landscape of their nation with wanton looting and arson, as well as systematic attacks on sites of archaeological or ethno-religious significance. More recently, the Shia and Kurdish dominated Iraqi Government have organised the “Committee for Removing Symbols of the Saddam Era” and plan to purge the state of its Sunni dominated past. This paper argues that the destruction of Iraq’s cultural history has played a part in eroding the national identity that many of these symbols and institutions were designed to promulgate. In turn, this has brought about the rise of ethno/religious sectarianism in Iraq which has had particular implications for the nation’s fledgling democratic order.