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![Issue 39:3 | September 2019 | New Futures in Art Education Issue 39:3 | September 2019 | New Futures in Art Education](/images/issues/3930_600w.jpg)
![Issue 29:2 | June 2009 | After the Missionaries Issue 29:2 | June 2009 | After the Missionaries](/images/issues/2920_600w.jpg)
![Issue 28:4 | December 2008 | Curating : Creating Issue 28:4 | December 2008 | Curating : Creating](/images/issues/2840_600w.jpg)
![Issue 26:1 | March 2006 | Art History: Go Figure Issue 26:1 | March 2006 | Art History: Go Figure](/images/issues/2610_600w.jpg)
![Issue 24:1 | March 2004 | Adelaide and Beyond Issue 24:1 | March 2004 | Adelaide and Beyond](/images/issues/2410_600w.jpg)
![Issue 21:2 | June 2001 | Art and Childhood Issue 21:2 | June 2001 | Art and Childhood](/images/issues/2120_600w.jpg)
![Issue 19:2 | June 1999 | The Future of Art Issue 19:2 | June 1999 | The Future of Art](/images/issues/1920_600w.jpg)
![Issue 17:1 | March 1997 | Australian Design Issue 17:1 | March 1997 | Australian Design](/images/issues/1710_600w.jpg)
![Issue 16:2&3 | September 1996 | Art in the Electronic Landscape Issue 16:2&3 | September 1996 | Art in the Electronic Landscape](/images/issues/1623_600w.jpg)
![Issue 11:3 | September 1991 | Art & Education Issue 11:3 | September 1991 | Art & Education](/images/issues/11_3_600w.jpg)
Articles
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Eve Sullivan___How did you become the creative lead for the Kaldor Public Art Project Symposium on Art Education? What did this entail?
Agatha Gothe‑Snape___I was invited by Kaldor Public Art Projects to participate (or intervene) in the program as an artist. Throughout the development and planning of the event I spent time “in residency” in the KPAP office as a kind of “participant–observer.” I also did research into the current discourses around art and education, reflecting upon my own experiences and those of others, and spoke to primary and secondary school teachers about their approaches to teaching art.
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What is curatorial research? And what is a curatorial methodology? I founded the Curatorial Practice PhD at Monash University in 2014. Though new and at the time unprecedented in Australia, it is entirely modelled on the Fine Art PhD, which is now offered by more than two dozen courses in this country. And so these questions were put to me repeatedly. They often felt bewildering, the result of putting the square peg of curating into the round hole of academia. Curating’s entry into academia was an awkward and artificial event, but I believe this event continues to have tremendous potential, and I hope to tease out its implications and possible paths forward in the essay that follows.
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This article explores new territory opened up by a cross-cultural collaboration between Indigenous poet Jim Everett and visual artist Jonathan Kimberley.
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Timothy Morrell provides the reader with a keen description in relation to the role that the art organisation NAVA (National Association for the Visual Arts) has within Australia's government but also the empowerment they claim to provide practicing artists. Morrell also includes some insight towards the rights of the common artworker by presenting some examples as to where they stand within Australian society but also how they operate in co-relation with the governments guidelines and in particular the controversial portrayal of nudity in art. A conclusive article articulating the importance of government organisations such as NAVA, Morrell provides an insightful discussion towards the role of the artist within Australian society but also the co-operation needed from the government to enable a sufficient means of expression from artists.
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Renowned French curator Catherine David visited Auckland to judge the Walters Prize; she awarded the $50,000 prize to Peter Robinson. John Hurrell artist, curator and blogger of NZ art reviews and critical discussion site eyeCONTACT spoke to Catherine about her curating of the Lyon Biennial which touches down in late 2009, and the relationship between artists and curators.
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Grishin looks at the earliest teachings of Australian art history in Australian universities, commencing in the year 1946 with gradually diminishing staff and resources in more recent years. This text further examines some of the pressures against and valued roles of Australian art history in education institutions. Key figures referred to are Sidney Dickinson, Bernard Smith, James Mollison, Wally Caruana, Robyn Maxwell, Bea Maddock and William Morris.