Silver Gelatin Print: A group exhibition curated by Karen Milder that investigates and captures the traditional processes using photograms, liquid emulsion, toning, hand-colouring and film. Part of the Queensland Festival of Photography 4 (QFP4).

Pillar of salt: (3 hand-applied silver gelatin photographs) Statement: For women moving into new experiences and spaces, loss and hardship is often a price to be paid. These courageous women look back to things they have overcome in order to continue to grow.

Normanton2020

Normanton2020 This exhibition showcases the work of 3rd -4th year undergraduate landscape architecture, architecture, Interior Design, Environmental Engineering, Civil Engineering students in response to issues of sustainability in the Gulf of Carpentaria town of Normanton. 16 students and four staff set off on a 2488km journey to undertake the second half of the Carpentaria Project (following Linking Karumba: Creating Sustainable Connections 2008), in the other Carpentaria Shire town of Normanton. This project, Get EnGulfed: Normanton 2020, looked back and forwards to propose strategies strengthening local and regional identities. Our project partners recognised the need for a strategic approach to developing future visions for Normanton’s growth as a socially, culturally, economically and ecologically sustainable town in the decade to 2020. They proposed: Project aims to foster: • Enhanced liveability; • A strengthened expression of town identity; • Expanded sustainable tourism. Primary challenges & opportunities: • Remoteness; • Two seasons: wet & dry; • Local economy; • Society and Cultural Heritage. The Exhibition Four groups of four students produced four strategic planning and design options toward this future: Mud Maps of Normanton: Rhys Belnap, AJ Humphries, Amos Shirreff, Haiku Van Keuk Normanton: Stay Another Day: Belle Dalton, Tom Jordan, Josh Nielsen, Carla Ramsland The Sweet Spot on the Savannah Way: Daniel Lapham, Yvonne Phillips, Patrick Poon, Dan Young Resilience Through Diversity: Jillian Kenny, Tania Metcher, Stephen Orr, Evan Thompson

Get EnGulfed: Normanton2020

Get EnGulfed: Normanton2020 This exhibition showcases the work of 3rd -4th year undergraduate landscape architecture, architecture, Interior Design, Environmental Engineering, Civil Engineering students in response to issues of sustainability in the Gulf of Carpentaria town of Normanton. It presented the work to QUT staff from across the university, as well as industry partners and invited guests. 16 students and four staff set off on a 2488km journey to undertake the second half of the Carpentaria Project (following Linking Karumba: Creating Sustainable Connections 2008), in the other Carpentaria Shire town of Normanton. This project, Get EnGulfed: Normanton 2020, looked back and forwards to propose strategies strengthening local and regional identities. Our project partners recognised the need for a strategic approach to developing future visions for Normanton’s growth as a socially, culturally, economically and ecologically sustainable town in the decade to 2020. They proposed: Project aims to foster: • Enhanced liveability; • A strengthened expression of town identity; • Expanded sustainable tourism. • Primary challenges & opportunities: • Remoteness; • Two seasons: wet & dry; • Local economy; • Society and Cultural Heritage. The Exhibition Four groups of four students produced four strategic planning and design options toward this future: Mud Maps of Normanton: Rhys Belnap, AJ Humphries, Amos Shirreff, Haiku Van Keuk Normanton: Stay Another Day: Belle Dalton, Tom Jordan, Josh Nielsen, Carla Ramsland The Sweet Spot on the Savannah Way: Daniel Lapham, Yvonne Phillips, Patrick Poon, Dan Young Resilience Through Diversity: Jillian Kenny, Tania Metcher, Stephen Orr, Evan Thompson

Tactile abstractions [Exhibition Catalogue Essay]

Among the many meanings of abstraction is the focus on images that are at a distance from their origins. This understanding of abstraction is central to Savanhdary Vongpoothorn’s layered, textured and sensuous canvas Crossing (2003). The references in this painting to Laotian textile design and creation endows it with the sense of a fabric-like nature, gives it the feel of cloth wrapped around bodies and of threads woven into complex symmetrical patterns. Here, the distance from origins is expressed as a separation from the material forms of Lao culture. At the same time the work is a visual reference to the stretching or bending of forms, the breaking up of shapes in the natural or constructed environment, all of which create an expressive effect through the warm rose grid and visual illusions of movement and travel. This visual play suggests the sense that migration or movement is a means through which cultural forms get recoded and translated. The making of Crossing like many of Savanhdary’s works involved manipulation of the canvas through pricking and poking, and then the application of layers and dots of paint. The overall effect is one of a synthesis of different cultural motifs and the addition of new dimensions to familiar forms. This highlights the centrality of the idea of 'reassemblage’ in abstraction, the processes of remaking of self, of the natural world and of cultural artefacts. Savanhdary constructs intricate laced knots of colour and texture in work which expresses the possibilities presented by travel, migration and the subsequent remixture that emerges upon crossing through different cultural worlds.

The other APT : an exhibition of other perspectives

It’s hard not to be somewhat cynical about the self-congratulatory ‘diversity’ at the centre of the growing calendar of art bi/tri-ennials. The –ennial has proven expedient to the global tourism circuit, keeping regional economies and a relatively moderate pool of transnational artists afloat and the Asia Pacific Triennial is no exception. The mediation of representation that is imperative to the ‘best of’ formats of these transnational art shows hinges on a categorical backwardness that can feel more than a little like a Miss World competition than a progressive art show because the little tag in parenthesis after each artist’s name seems just as politically precarious now as it did forty years ago. Despite a weighty corpus of practical and critical work to the contrary, identity politics are so intrinsic to art capitalization, for both artists and institutions, that extricating ourselves from the particular and strategic politics of identification is seemingly impossible. Not that everyone wants to of course.

Engaging creativity through an action learning and action research process to develop an Indigenous art exhibition

In most art exhibitions, the creative part of the exhibition is assumed to be the artworks on display. But for the Capricornia Arts Mob’s first collective art exhibition in Rockhampton during NAIDOC Week in 2012, the process of developing the exhibition became the focus of creative action learning and action research. In working together to produce a multi-media exhibition, we learned about the collaborative processes and time required to develop a combined exhibition. We applied Indigenous ways of working – including yarning, cultural respect, cultural protocols, mentoring young people, providing a culturally safe working environment and sharing both time and food – to develop our first collective art exhibition. We developed a process that allowed us to ask deep questions, engage in a joint journey of learning, and develop our collective story. This paper explores the processes that the Capricornia Arts Mob used to develop the exhibition for NAIDOC 2012.

A great charmer : The peripatetic and adventurous Patrick Leigh Fermor

Review of Patrick Leigh Fermor : An Adventure by Artemis Cooper (John Murray, 2012).

Crossing Boundaries : Australian student teachers creating ‘The Global Teacher Exhibition’

This DVD describes a curriculum project embedded into the subject The Global Teacher (code: CLB049/LCB327, Faculty of Education, Queensland University of Technology). The Global Teacher is a subject within the undergraduate degree program for pre-service teachers and provides a global perspective on socio-political issues that shape education. The curriculum in The Global Teacher was designed around a collaborative partnership between Queensland University of Technology and State Library Queensland. Through this collaboration, State Library became not only a resource for information, but also helped to develop the pedagogical skills of the pre-service teaachers by guiding them in exhibiting and curating Global Teacher themes for a broader community-based audience. The collaboration became part of the assessment for The Global Teacher, requiring the pre-service teachers to visually translate their understandings of global educational issues into a public exhibition, which was held at State Library Queensland on 1st May, 2013. This DVD is a creative work explaining the stages of this collaborative project. It explores the learning outcomes achieved, using the voices of participants: the pre-service teachers, the QUT teacher educators and staff of State Library Queensland. A detailed description of this project is to be found at: http://libguides.library.qut.edu.au/content.php?pid=595206&sid=4908024&preview=1b455ed4f2c606d19702090f85d1f965

Mark Webb Survey Exhibition

The exhibiton brought together a diverse group of works using an array of presentational strategies, which critically facilitate a dialogue across the material and conceptual aspects of my practice over 25 years. It focussed on my ongoing explorations into art as a model for research, as a site for intermediary exchange between different discursive forms and as a space to engage the politics of the everyday.

Relics, 2007, in touring exhibition, Selectively Revealed, 2012

“Selectively Revealed investigates the blurry line between the public and the private in artistic practice. The artist is presented as voyeur, muse, subject, performer and social commentator. Using a variety of screen based practices, each artist pushes and pulls at the notion of what is private and what is public, choosing precisely what, when, how or when not to reveal their subjects or themselves. Ultimately, everything is presented for scrutiny; an innermost feeling, a personal moment, a fear or failure, an everyday encounter, an experience of rapture, a banal endeavour. Much is revealed, celebrated and critiqued.” Sarah Bond (Asialink) and Clare Needham (Experimenta)

Queensland's film culture: The challenges of local film distribution and festival exhibition

Organisations at the centre of the state’s industry, such as Screen Queensland, have undergone substantial and ongoing changes in the last five years. Other organisations funded by Screen Queensland, such as QPIX, Queensland’s only film development centre, have recently closed. The Brisbane International Film Festival has been restructured to become the Brisbane Asia Pacific Film Festival as of 2014. In an uncertain industry currently characterised by limited funding and diminishing support structures, local emerging filmmakers require significant initiatives and a sophisticated understanding of how to best utilise fledgling distribution models as part of a tailored strategy for their content. This essay includes interviews with emerging Brisbane filmmakers who have used a combination of traditional and contemporary approaches to exhibition and distribution thus far in their careers. It argues that for these filmmakers, while film festivals do function as crucial platforms for exposure, in the current digital market they cannot be relied upon as the only platform in securing further mainstream or commercial release. They can, however, be incorporated into an alternative distribution model that shows awareness of the contemporary situation in Australia. The research findings are arguably indicative of the challenges faced by filmmakers statewide, and suggest that further support strategies need to be considered to revive Queensland’s film culture and provide immediate support for emerging filmmakers. Queensland’s film sector is currently in the midst of significant change.

The Fleet Store : devising a public retail exhibition to promote creative, innovative and sustainable business models for emerging fashion designers

1.Description of the Work The Fleet Store was devised as a creative output to establish an exhibition linked to a fashion business model where emerging designers were encouraged to research new and innovative strategies for creating design-driven and commercial collections for a public consumer. This was a project that was devised to break down the perceptions of emerging fashion designers that designing commercial collections linked to a sustainable business model is a boring and unnecessary process. The focus was to demystify the business of fashion and to link its importance to a design-driven and public outcome that is more familiar to fashion designers. The criterion for participation was that all designers had to be registered as a business with the Australian Taxation Office. Designers were chosen from the Creative Enterprise Australia Fashion Business Incubator, the QUT fashion graduate alumni and current QUT fashion design and double degree (fashion and business) students with existing businesses. The project evolved from a series of collaborative workshops where designers were introduced to new and innovative creative industries’ business models and the processes, costings and timings involved to create a niche, sustainable business for a public exhibition of design-driven commercial collections. All designers initiated their own business infra-structure but were then introduced to the concept of collaboration for successful and profitable exhibition and business outcomes. Collaborative strategies such as crowd funding, crowd sourcing, peer to peer mentoring and manufacturing were all researched, and strategies for the establishment of the retail exhibition were all devised in a collaborative environment. All participants also took on roles outside their ‘designer’ background to create a retail exhibition that was creative but also had critical mass and aesthetic for the consumer. The Fleet Store ‘popped up’ for 2 weeks (10 days), in a heritage-listed building in an inner city location. Passers-by were important, but the main consumer was enlisted by the use of interest and investment from crowd sourcing, crowd funding, ethical marketing, corporate social responsibility projects and collaborative public relations and social media strategies. The research has furthered discussion on innovative strategies for emerging fashion designers to initiate and maintain sustainable businesses and suggests that collaboration combined with a design-driven and business focus can create a sustainable and economically viable retail exhibition. 2. Research Statement Research Background The research field involved developing a new ethical, design-driven, collaborative and sustainable model for fashion design practice and management. The research asked can a public, design-driven, collaborative retail exhibition create a platform for promoting creative, innovative and sustainable business models for emerging fashion designers. The methodology was primarily practice-led as all participants were designers in their own right and the project manager acted as a mentor and curator to guide the process and analyse the potential of the research question. The Fleet Store offers new knowledge in design practice and management; with the creation of a model where design outcomes and business models are inextricably linked to the success of the creative output. Key innovations include extending the commercialisation of emerging fashion businesses by creating a curated retail gallery for collaborative and sustainable strategies to support niche fashion designer labels. This has contributed to a broader conversation on how to nurture and sustain competitive Australian fashion designers/labels. Research Contribution and Significance The Fleet Store has contributed to a growing body of research into innovative and sustainable business models for niche fashion and creative industries’ practitioners. All participants have maintained their business infra-structure and many are currently growing their businesses, using the strategies tested for the Fleet Store. The exhibition space was visited by over 1,000 people and sales of $27,000 were made in 10 days of opening. (Follow up sales of $3,000 has also been reported.) Three of the designers were ‘discovered’ from the exhibition and have received substantial orders from high profile national buyers and retailers for next season delivery. Several participants have since collaborated to create other pop up retail environments and are now mentoring other emerging designers on the significance of a collaborative retail exhibition to consolidate niche business models for emerging fashion designers.

Pars pro toto: Experimental exhibition design and curatorial paradigms

'Pars pro toto: Experimental Exhibition Design and Curatorial Paradigms' is situated within the ongoing debate over the conflation of art and curating, and the subsequent tension between artistic autonomy and curatorial intervention. This practice-led research project acclimates these polarities using a collaborative and discursive curatorial methodology in the creation of two exhibitions. Both exhibitions, one digital and one primarily physical, investigated how the temporary exhibition can operate as a site for provocation, how the suggested methodology facilitates the relationship between artist and curator within this paradigm, and outlines factors that assist in expanding the definition of the contemporary curatorial role.

Reflections on the Research Students' 2015 Art Exhibition and Operetta/morality play "The Trial of Homo Economicus: The dollar hunting animal"

The paper outlines the process of organising research student participants and creating a public musical performance at QUT. The theme of the Operetta/Morality play is the clash between economic values of humans necessitating growth and the basic needs of the other life on planet earth. The one act play is set in a court room presided over by a judge who adjudicates the court proceedings.Homo economicus is in the dock and victims(various animals and birds) raise their grievances.