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Just Not Australian Cultural Mediation Training Pack
JUST NOT AUSTRALIAN Just Not Australian brings CULTURAL MEDIATION TRAINING PACK together 20 artists across generations and diverse cultural backgrounds to deal broadly with the origins and implications of contemporary Australian nationhood. The show engages with the moral and ethical undertones of the loaded rejoinder ‘un- Australian’ – a pejorative now embedded in our national vocabulary that continues to be used to further political agendas and to spread nationalistic ideals of what it means to be Australian. This training pack outlines how the practice of Cultural Mediation can be engaged to translate the broad themes and manage the difficult conversations that this exhibition may ignite, as well as provide a vocabulary and further reading to encourage an inclusive and culturally safe space. Liam Benson, Black Flag, 2016, sequins, seed beads, cotton thread, cotton poplin, 30 x 59 cm. Courtesy the artist and Artereal Gallery, Sydney. Photos: Zan Wimberley Just Not Australian was curated by Artspace and developed in partnership with Sydney Festival and Museums & Galleries of NSW. The exhibition is touring nationally with Museums & Galleries of NSW. UQ ART MUSEUM Museums & Galleries of NSW (M&G NSW) has been ABOUT ANESHKA MORA ABOUT THIS researching and providing training on the practices of Cultural Mediation with the aim to equip gallery and museum staff with the tools to implement this Aneshka Mora is queer, scholar of colour living on TRAINING PACK engagement strategy across the sector. Cultural Cameraygal Country in the Eora Nation, who is broadly Mediation is about deepening the engagement of interested in contemporary art strategies of decoloniality audiences at a peer-to-peer level through personal within the limits of institutions and settler-colonialism. -
Issue 2: Viral April 2018 Letters from the Editors
ISSUE 2: VIRAL APRIL 2018 LETTERS FROM THE EDITORS LUNGOL JACK Managing Editor Features Sub-editor Viruses. The Viral edition of Tharunka is a great success in capturing my own, and the editorial team’s, vision for Dead, yet undead. Fatal, yet nourishing. Physical, yet virtual. the publication this year. We envisaged a magazine of broad interest, including articles on diverse topics The evolution of the term “viral” is indicative of modern from many disciplines, but united under single human advancement. What was initially a term for infectious important themes. agents affecting change at a cellular level expanded into a definition inclusive of malicious software that wreaks havoc The contributors to the Viral features have nailed and leaves digital ruins in its wake. Virality then evolved into these requirements. Rachel Ryu does an excellent job a worldwide phenomenon with the rise of social media and of identifying how mindlessly we respond to “viral” the newfound capacity for individuals everywhere to prompt media, which compounds Georgia Griffith’s and the widespread dissemination of information. Masrur Ul-Joarder’s analysis of online content and our responsibilities as consumers. In a complimentary But virality, at its core, is transformative. Regardless of way, Zeeshan Siddiqui and Henry Chen identify the whether said transformation is positive or negative, a virus uncertainties of working with, or against, viruses builds where it has destroyed. Its power lies not only in the in the medical and biotechnological fields, and the reach of its dispersal, but in the change it has created. difficulties and possibilities we face when dealing with imperfect scientific information. -
Francis Brabazon Collection: Significance Assessment Report
Francis Brabazon Collection: Significance Assessment Report Dr Ray Kerkhove Woombye, 2008 1 INDEX Collection Background…………………………….. 3 A. Statement of Significance……………………..... 4 B. Significance by Comparative Criteria…………. 15 C. Australian & Queensland Heritage Themes…… 17 D. Recommendations (Implementation)………….. 20 Appendixes………………………………………... 21 2 Collection Background The collection began as the personal library of Baron Frederick von Frankenberg, which was accumulated in Germany and other parts of Europe c.1900-1920s. It was initially housed at Camden (outside Sydney, NSW). The library formed the core resource for Australia’s first Sufi group and other persons interested in the arts and spirituality at that time. From this phase, the collection gained early editions of Inayat Khan’s works and the only extant material on the early Sufi Society in Australia. In 1950, the Modernist poet Francis Brabazon inherited the collection when he succeeded the Baron as head of the Sufi Society. Thereafter, and until 1959, the collection was housed in the centre Francis was constructing at Beacon’s Hill (Sydney). It continued to be used by Francis and his associates. Francis also added his own library, which consisted of books and recordings he acquired in Melbourne, New York and elsewhere. Some of these acquisitions reflect Francis’ role in early Australian Modernism. This enlarged it into an unusually comprehensive collection on the world’s literary and scriptural texts, which Francis then utilized in the creation of his own poetry, prose and music. Also from this period came many notes and drafts of Francis’ early works. Between 1959 and 1969, Francis Brabazon resided in India with his spiritual master, Meher Baba. -
Make Education Fair Senate Submission
August 08 Senate Submission: Academic Freedom ACADEMIC FREEDOM MAKE EDUCATION FAIR 13th August 2008 Committee Secretary Senate Education, Employment and Workplace Relations Committee Department of the Senate SUBMISSION TO SENATE INQUIRY INTO ACADEMIC FREEDOM The Young Liberal movement and the Australian Liberal Students Federation are gravely concerned about fairness in education. We welcome the opportunity to provide a submission into the inquiry into Academic Freedom, representing the voice of mainstream students across the country. Make Education Fair Campaign Bias at our high schools and university campuses has reached epidemic proportions. Many of our student members have approached us with numerous stories of this bias being expressed by teachers, reflected in the curriculum or in a hostile atmosphere for students who cannot freely express their views. We would like to ensure that all students continue to have the right to exercise freedom of thought and expression, without fear of reprisal or penalty. Over the past few months, the Make Education Fair campaign has actively sourced examples from students who have experienced bias on university campuses. The depth of academic bias uncovered by this campaign, most notably in the arts faculties of Australia’s major universities, is gravely disturbing and poses significant challenges for diversity within the education sector. The examples that have been provided to us indicate the following problems with academic freedom within Australia: • A lack of diversity amongst academics and the -
Full Thesis Draft No Pics
A whole new world: Global revolution and Australian social movements in the long Sixties Jon Piccini BA Honours (1st Class) A thesis submitted for the degree of Doctor of Philosophy at The University of Queensland in 2013 School of History, Philosophy, Religion & Classics Abstract This thesis explores Australian social movements during the long Sixties through a transnational prism, identifying how the flow of people and ideas across borders was central to the growth and development of diverse campaigns for political change. By making use of a variety of sources—from archives and government reports to newspapers, interviews and memoirs—it identifies a broadening of the radical imagination within movements seeking rights for Indigenous Australians, the lifting of censorship, women’s liberation, the ending of the war in Vietnam and many others. It locates early global influences, such as the Chinese Revolution and increasing consciousness of anti-racist struggles in South Africa and the American South, and the ways in which ideas from these and other overseas sources became central to the practice of Australian social movements. This was a process aided by activists’ travel. Accordingly, this study analyses the diverse motives and experiences of Australian activists who visited revolutionary hotspots from China and Vietnam to Czechoslovakia, Algeria, France and the United States: to protest, to experience or to bring back lessons. While these overseas exploits, breathlessly recounted in articles, interviews and books, were transformative for some, they also exposed the limits of what a transnational politics could achieve in a local setting. Australia also became a destination for the period’s radical activists, provoking equally divisive responses. -
Tony Albert Brothers May 26 - August 9
TONY ALBERT BROTHERS MAY 26 - AUGUST 9 OPENING RECEPTION FRIDAY, MAY 29, 2015 5:30 - 7:30 PM NAIDOC CELEBRATIONS WITH THE ARTIST JULY 8 - 11, 2015 ACKNOWLEDGMENTS Tony Albert Carriageworks Colette Blount Liz Nowell Charlene Green Debra and Dennis Scholl Lora Henderson Franklin Sirmans Joanna Williams Sullivan + Strumpf, Sydney Holly Zajur Film: Tony Albert and Stephen Page, Moving Targets, 2015. Commissioned for 24 Frames Per Second. The 24 Frames Per Second exhibition runs from 18 June - 2 August, 2015. This project has been assisted by the Australian Government through the Australia Council for the Arts, its arts funding and advisory body. ll images courtesy the artist. A 2013. KLUGE-RUHE ABORIGINAL aRT COLLECTION rothers, OF THE UNIVERSITY OF VIRGINIA B 400 Worrell Drive, Charlottesville, VA 22911 lbert, [email protected] A ony www.kluge-ruhe.org T 434-244-0234 TONY ALBERT BROTHERS TONY ALBERT: HEAR AND NOW TONY ALBERT (b. 1981) is a Girramay man from Townsville in north FRANKLIN SIRMANS Queensland, Australia. Albert questions how we understand, imagine and construct difference. Certain political themes and visual motifs resurface across his oeuvre, including The focal point of the discussion on the art of Aboriginal artists in Australia has, until thematic representations of the ‘outsider’ and the target recently, focused almost exclusively on the art of abstraction. Yet, artists like Tracey made of concentric circles. Moffatt and Gordon Bennett have been working with conceptualist practices in photography and video for quite some time. A generation younger than Moffatt His work is held in numerous public and private collections and Bennett, Tony Albert has continuously sought to disrupt the perception of internationally, including the National Gallery of Australia, Aboriginal art with his conceptual and highly representational art and a spirit of the Australian War Memorial, the Art Gallery of New South collaboration that has been as potent to the discourse as his works of art. -
Indigenous History: Indigenous Art Practices from Contemporary Australia and Canada
Sydney College of the Arts The University of Sydney Doctor of Philosophy 2018 Thesis Towards an Indigenous History: Indigenous Art Practices from Contemporary Australia and Canada Rolande Souliere A thesis submitted in partial fulfilment of requirements for the degree of Doctor of Philosophy at Sydney College of the Arts, University of Sydney This is to certify that to the best of my knowledge, the content of this thesis is my own work. This thesis has not been submitted for any degree or other purposes. I certify that the intellectual content of this thesis is the product of my own work and that all the assistance received in preparing this thesis and sources have been acknowledged. Rolande Souliere i ACKNOWLEDGEMENTS I would like to thank Dr. Lynette Riley for her assistance in the final process of writing this thesis. I would also like to thank and acknowledge Professor Valerie Harwood and Dr. Tom Loveday. Photographer Peter Endersbee (1949-2016) is most appreciated for the photographic documentation over my visual arts career. Many people have supported me during the research, the writing and thesis preparation. First, I would like to thank Sydney College of the Arts, University of Sydney for providing me with this wonderful opportunity, and Michipicoten First Nation, Canada, especially Linda Petersen, for their support and encouragement over the years. I would like to thank my family - children Chloe, Sam and Rohan, my sister Rita, and Kristi Arnold. A special thank you to my beloved mother Carolyn Souliere (deceased) for encouraging me to enrol in a visual arts degree. I dedicate this paper to her. -
Tharunka 2011
Editorial Does anyone read the editorial? Does Dollops anyone read the eggcup? Dollops anyone read Tharunka? Do you like anyone read Tharunka? Do you like Tharunka? Do you? Do? Yes I do. Well Tharunka? Do you? Do? Yes I do. Well that’s a start but it would be good if we that’s a start but it would be good if we had had thousands, nay, millions of readers thousands, nay, minerals of reasonings and and Fred Hilmer woke every morning to Fred Hilmer woke every motel to his pore his poodle fetching the paper from his post fetching the paragraph from his postulate box and returning to his bedside, curling brain and returning to his bedside, curling up beside his silken pillow and wagging up beside his silken pinhead and wagging his his adorable tail. That would make my adorable tally. That would make my dean; day; would it make yours? It would indeed would it make yours? It would indeed but but how about yours? how about yours? In such a time Tharunka is and would and In such a tinkle Tharunka is and would and is a great source of somewhat unreadable is a great spacesuit of somewhat unreadable at times, I’ll grant you that, articles and at tinkles, I’ll grating you that, aspirants satire and other stuffs that have been and savour and other subcommittees that accumulated within our office high in have been accumulated within our ointment the lofty towers of Blockhouse and damn high in the lofty tractors of Blockhouse and it this sentence is going nowhere. -
University of NSW's Independent Student Newspaper
Week 7 - Week 8, Semester 2, 2014 First Published 1953 Volume 60, No.1 11 University of NSW’s Independent Student Newspaper 2 EDITORIAL Editor’s Letter Hi Folks, It’s second semester hump time. Those weeks dur- ing week 5-6 where all the work you haven’t started yet catches up to you. Where your best intentions to do better this time fail you. And man - do I feel you. This fortnight my wheels well and truly fell off - and if it wasn’t for the other excellent souls working at Tharunka you most probably wouldn’t be reading this. Luckily, you have an issue jam packed full of good- ness - because somehow there are a few brilliant Dear Agony Ibis, people who seem to be coping with the stresses and Since cigarette prices have increased and UNSW campus has gone desire to “have it all” as a young twenty-something. smoke-free, I’ve decided to cut the cord and give up smoking. This is no That’s right - they are great writers AND they know mean feat, seeing as I’ve been smoking for the better part of five years what 5-7pm on a Wednesday is for. and am pretty sure that 80% of my coolness comes from the buggers Nick Timms is surely in trouble for reporting nice but when all is said and done, I know it’s time to grow up and stub out. things about another University, Matt Bugden delves I’ve been trying to quit for about a month now and have one issue, apart in the politics of MH17 and Thom Mitchell warns from all the withdrawal symptoms and grumpiness, and it’s that I need that Team Australia might not be something you a new vice! Something to calm the nerves and keep the other hand busy want to be picked for first. -
TONY ALBERT Born 1981, Townsville, QLD EDUCATION 2004 Bachelor
TONY ALBERT Born 1981, Townsville, QLD EDUCATION 2004 Bachelor of Visual Arts, Contemporary InDigenous Australian Art, QueenslanD College of Art, Griffith University, Brisbane RESIDENCIES 2019 Canberra Glassworks, ACT 2019 Carriageworks, Sydney NSW 2018 Carriageworks, Sydney NSW 2016 Solid Ground Alexandria Park Community School 2016 Asialink Kerjasama Reciprocal ResiDency, Jogyakarata 2015 International StuDio anD Curatorial Program, Brooklyn, New York, UniteD States 2012 Artspace, Sydney NSW SELECTED COMMISSIONS 2019 I am Visible, Enlighten Festival, National Gallery of Australia, Canberra 2018 The Glad Tomorrow, Lady Cilento Children’s Hospital, Brisbane 2017 – 2018 Blacktown Native Institute Project, C3West, Museum of Contemporary Art and Blacktown City Council 2013 Be Deadly Mural, Redfern Jarjum College, Redfern Street, Sydney 2015 Sydney Hyde Park War Memorial, NSW SELECTED AWARDS AND PRIZES 2019 Dobell Drawing Prize, National Art School, Sydney, finalist 2018 Josephine Ulrick anD Win Schubert Photography AwarD, finalist 2018 King & Wood Mallesons Contemporary ATSI Art Prize, Parliament House, NSW, People’s Choice 2018 Gold Award, Rockhampton Art Gallery, QLD, finalist 2017 Ramsay Art Prize, Art Gallery of South Australia, finalist 2017 Archibald Prize, Art Gallery of New South Wales, finalist 2017 Still: National Still Life AwarD, Coffs Harbor Regional Gallery, finalist 2016 Fleurieu Art Prize, winner 2015 FBI Sydney Music Arts & Culture AwarD, ‘Best Visual Artist’, winner 2014 31st Telstra National Aboriginal & Torres Strait -
Jus' Drawn: the Proppanow Collective a Linden Centre for Contemporary Arts & Nets Victoria Touring Exhibition
Jus’ Drawn: The proppaNOW Collective A Linden Centre for ContemporAry Arts & nets ViCtoriA touring exhibition Jus’ Drawn: The proppaNOW Collective A Linden Centre for Contemporary Arts & nets Victoria touring exhibition Written and researched by shelley hinton 3 Planning your gallery visit 3 Curriculum links and themes 4 proppanoW 5 Introduction to the exhibition Jus’ Drawn 6 Artist profiles 32 Curriculum links & Questions • VeLs level 6 • years 11 & 12 41 References NB: the soundfiles and further research on the artists may include strong language 2 Planning your gallery visit Curriculum links and themes this education resource is designed for teachers and A broad range of themes and ideas which link to the students to provide background and context to the exhibition may be explored across the curriculum for exhibition Jus’ Drawn:The proppaNOW Collective. students students, levels 5-6 VeLs and VCe, years 11-12. these themes and teachers are advised to utilise this information parallel to may be utilised to assist students with contextualising a gallery visit to view the exhibition, enhanced by discussion information presented in the exhibition, to inspire discussion and research of a range of resources, including soundfile and to explore and link to a broad range of study areas across recordings by each of the proppanoW artists featuring the the Arts, the humanities and social sciences. artists via the nets Victoria website: http://www.netsvictoria.org.au. particular themes include: • Contemporary art prior to undertaking a gallery visit, it is suggested that • Aboriginal art students read the exhibition room brochure, listen to the • urban Aboriginal art recorded soundfiles by the artists and explore a range of • figuration and abstraction suggested resources and links which will provide context and • portraiture and identity background to the exhibition. -
Auistralian Last Year
Auistralian Last Year Each Australion Universify has its own newspaper staffed by students. Apart from fhe typesetting and printing, these papeirs are completely produced by members of the university, most of whom have ha^d littfe previous experience of journalism, and all of whom are pursuing university courses. "The papers vary greatly in size The papers, both through advertising and circulation; Honi Soit, the and through articles, are made use university of Sydney's paper, has of to publicise student societies, and a circulation of about 11,000, sometimes an issue is almo.it com pletely devoted to one subject—foi Preparing lo take their pluco, iu a new parlour game. while Nucleus, the New England example, Honi Soit's Commemora University's paper has a circula- tion Day issue—supplements such as tion of 2,200. But alt the [iapers the Pelican W.U.S. Supplement in encounter much the same prob 1960 are occasionally included. lems and have many common One of th.e main purposes of most characteristics. papers is to give you entertainment. THE SEARCH FOR Censorship, for example, was a They are sometimes successful. Dif difficulty encountered by several ferent methods are followed. All the papers during 1960. Student writers papers print humorous articles and frequently show a lack of respect stories whenever possible, but the for many accepted Institutions and most popular form of university HIDDEN GNUS standards, and a good deal of the humour during the past few years material printed is critical or con-' has been satire — a type of humour I have, I believe, iliscovered a new parlour game, one which I can heartily demning.