New Futures in Art Education
Issue 39:3 | September 2019
At a time of change and diversification of the models for cultural production, this edition embraces new perspectives on visual art education across the school, university, museum and gallery sectors. Inspired by the clustering of debates and fluctuating drivers positioning art education in particular ways right now, the essays presented here are pluralistic in their views, reflecting a world-centred approach to the public education debate.
In this issue
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.
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.