1000 resultados para Terra-cotta sculpture.


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The exploration of the idea of the horse is a very complex and open quest. Primarily it entails some conception of what the idea of the horse is. In choosing to title the project as such, I was attempting to indicate that what was of major interest to me was the representation of those qualities of the horse which are abstract and intangible as well as the physical qualities of the horse. Because of this interest, much of my work is concerned with movement, gesture, and the effects of structure, or lack thereof, on movement and gesture.

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My project as a Senior Scholar has been the study of the human figure through drawing and sculpture. I have worked directly from the model in order to understand the form and structure of the human body. The result of this concentrated study has been a sharpened sense of vision and an increased confidence in the use of materials for both two and three-dimensional representation.

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As noted in Universities Australia’s (2011a, 2011b) investigations into Indigenous Cultural Competency, most universities have struggled with successfully devising and achieving a translation of Indigenous protocols into their curricula. Walliss & Grant (2000: 65) have also concluded that, given the nature of the built environment disciplines, including planning, and their professional practice activities, there is a “need for specific cultural awareness education” to service these disciplines and not just attempts to insert Indigenous perspectives into their curricula. Bradley’s policy initiative at the University of South Australia (1997-2007), “has not achieved its goal of incorporation of Indigenous perspectives into all its undergraduate programs by 2010, it has achieved an incorporation rate of 61%” (Universities Australia 2011a: 9; http://www.unisa.edu.au/ducier/icup/default.asp).

Contextually, Bradley’s strategic educational aim at University of South Australia led a social reformist agenda, which has been continued in Universities Australia’s release of Indigenous Cultural Competency (2011a; 2011b) reports that has attracted mixed media criticism (Trounson 2012a: 5, 2012b: 5) and concerns that it represents “social engineering” rather than enhancing “criticism as a pedagogical tool ... as a means of advancing knowledge” (Melleuish 2012: 10). While the Planning Institute of Australia’s (PIA) Indigenous Planning Policy Working Party has observed that fundamental changes are needed to the way Australian planning education addresses Indigenous perspectives and interests, it has concluded that planners “! perceptual limitations of their own discipline and the particular discourse of our own craft” were hindering enhanced learning outcomes (Wensing 2007: 2). Gurran (PIA 2007) has noted that the core curriculum in planning includes an expectation of “knowledge of ! Indigenous Australian cultures, including relationships between their physical environment and associated social and economic systems” but that it has not been addressed. This paper critiques these discourses and offers an Indigenous perspective of the debate.

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Original, edition of 1, Bronze sculpture of Bird titled: "Kasper Hauser" referring to the mystical German 19th century figure in history who was discovered in a town centre. As he had been isolated all his life he showed great wonderment at nature and music.

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The nexus between the landscape architecture profession and the Australian Indigenous communities about place and 'country' has been floundering despite recent events in history, including recognition of native title by the High Court in Mabo v the State of Queensland [No. 2] (1992) 175 CLR 1 that have heightened recognition of the rights, interests, needs and aspirations of Aboriginal and Torres Strait Islander people in Australia and internationally.