THE ART OF BRINGING THE ARTS TO EDUCATION RESOURCE Cover Image: courtesy of Ben Wrigley CONTENTS

SECTION 1

Introduction: the purpose of this resource 2 The Educational Landscape 3 The Centenary of Canberra 3 Acquiring public works of art 4

SECTION 2

Early Canberra 1913, A E MacDonald, at the Canberra Museum and Gallery 6 Great Hall Tapestry, and the Victorian Tapestry Workshop Parliament House, Canberra 8 Icarus, Jan Brown, Petrie Plaza, Civic, Canberra 10

SECTION 3

StellrScope, Eleanor Gates-Stuart, A major visual arts production, 2013 12 Prime Time, John Shortis and Moya Simpson, to be performed in 2013 14 Hipbone Sticking Out (the Yijala Yala project) Big hART - , 2013 16

SECTION 4

The Australian Curriculum 18 * Copies of additional sheets can be downloaded from canberra100.com.au

CONTENTS 1 INTRODUCTION

The following pages will present material Welcome to this resource for Arts teachers. Your role in the for Arts teachers to use concentrating on education of children and young people is extraordinarily three existing public art works, and three works that have been commissioned as important as you enable them to find their creative talents and to part of the celebrations of the Centenary participate in the wide world of artistic expression and innovation. of Canberra. You teach and enable students to ‘see’ into this world. THE THREE EXISTING WORKS ARE: “One only admires what one has first learnt to see”

••A E MacDonald’s oil Early - Ernst H Gombrich Canberra, at the Canberra Museum Canberra abounds in art works, not just in well-known cultural institutions and Gallery, Civic such as the National Gallery of , National Portrait Gallery, ••Arthur Boyd’s Great Hall Tapestry in National Museum of Australia and , Parliament House but also in smaller galleries and museums, offices, banks and restaurants, ••Jan Brown’s Icarus, a bronze and, of course, in outdoor public spaces. The bronze kangaroos poised in Petrie Plaza, Civic to drink at Nerang Pool in , the woolly knitted steel sheep at the Kambah Shops, the statue of a swimmer at the entrance to THE THREE COMMISSIONED the National Sports Swimming Centre and Ethos standing outside the ACT WORKS ARE: Legislative Assembly are just four examples of art works that people in Canberra walk past every day. ••Eleanor Stuart-Gates’ StellrScope, an What is public art? The ACT Government’s paper Action Statement for Public installation based on scientific images Art (2006) says: ‘The term “public art” is used here to refer to artworks that and data enrich our experience of public places.’ ••Shortis and Simpson’s Prime Time, How does public art get to be where it is? Who makes it? Who pays for it? a satirical musical production about Who is responsible for it? These are good questions for students of the Arts Australia’s prime ministers to pursue. Some art works are produced for competitions—for example, the ••Big hART’s Hipbone Sticking Out a famous Archibald portrait competition. Others are commissioned—but by multi-media performance through whom and for whom? What does the term ‘patronage’ mean? How do artists music, dance and theatre, about get government grants or residencies? What is the range of processes for connections between the past and acquiring public art? the present in the Pilbara region of This resource, The art of bringing the Arts to Canberra, is very timely. Western Australia. It brings together a significant aspect of the Arts, specifically public art, with When students have the opportunity the development of the Australian Curriculum: The Arts and the Centenary to view, explore, research and reflect of Canberra in 2013. For teachers of high school students, particularly years on these six works of art, they will be 9 – 12, there is a rich opportunity to immerse their students in the world, enriched in their understanding of not just of the production and appreciation of art works, but also how they the contribution public art makes to are acquired by a government, by galleries or by an individual, and made the cultural life of Canberra, and the accessible to the community. There is most definitely an art to bringing importance of having processes for the Arts to Canberra. This is a very specific aspect of the Arts’ world, and acquiring public art. while it is one that is not often explored, it contributes to a fundamental understanding about what it means to be a citizen and how citizenship and government connect. Author: Chris Melican

Workspace4 by Eleanor Gates-Stuart

2 THE ART OF BRINGING THE ARTS TO CANBERRA THE THE EDUCATIONAL CENTENARY LANDSCAPE OF CANBERRA

The Declaration on Educational Goals for Young Canberra, as the capital of Australia, took Australians (December 2008) is a pivotal document that some years to come into being. During has led to the development of the Australian Curriculum. the 1850s, discussion had occurred about a federation of the Australian colonies. The Declaration states that there are two educational goals: This was achieved in 1901. Almost a decade ••Goal 1: Australian schooling promotes equity and excellence later, 900 square miles of land of the Molonglo Valley were declared, by the ••Goal 2: All young Australians become successful learners; Labor Government of the day, to be the confident and creative individuals; active and informed Federal Capital Territory. Then began citizens. possibly one of the most important competitions in Australia’s history, one that included great emphasis on art, The second goal is more relevant to Some students will become artists; design, creativity and innovation: the the work presented in this resource. a larger number will participate Federal Government, on 30 April 1911, Active and informed citizenship in amateur artistic activities, but advertised an international competition involves understanding the what about the others? As students for a design for the capital. On 23 May 1912 responsibilities of government and emerge from their secondary the announcement was made that Walter the expenditure of public money, education it is important that they Burley Griffin, from Chicago, USA, had raised through taxes, for the good be consumers of, and appreciators won the competition. of its citizens. A state and territory of, the remarkable area of human On 12 March 1913, Lady Denman, wife government budget will include endeavour called the Arts. of the Governor-General, stood in a expenditure on works and projects Appreciating artistic works involves dry paddock in the Molonglo Valley to do with the physical well being of engaging with and responding and declared, ‘I name the Capital of citizens as well as their intellectual to traditional and contemporary Australia … Canberra’. The same year, and cultural needs. The Arts as works of visual and performing Walter Burley Griffin was appointed a whole has an important part to artists. Through these experiences, Federal Capital Director of Design and play in the achievement of Goal 2, students develop aesthetic values Construction. and this resource assists teachers and appreciate ways of making of the Arts in developing in their meaning through art. They explore The Arts were there right from the students an inclusive understanding and appreciate the values, beliefs, start. The capital was designed with of citizenship. traditions and identities of diverse public spaces, which the architect of cultures. They investigate how the National Portrait Gallery calls ‘the artistic works contribute to society living rooms of the city’—and most living by building cultural identity and rooms display objects d’art that are social commentary. important and significant for those who live there. The teacher of the arts, while teaching and sharing knowledge This celebration of Canberra’s 100 years and skills within art forms and as the national capital offers a rich encouraging all students to be opportunity for students to explore and creative, needs to develop in understand several issues about the arts: students a lifelong appreciation ••how works of art are commissioned and enjoyment of the arts and an and acquired understanding of their place in ••the importance of the arts in revealing their own and other cultures. the city’s history and culture ••public views about the arts.

SECTION 1 3 ACQUIRING PUBLIC WORKS OF ART

Both federal and state/territory governments play a significant role in the provision of public art and support for the Arts. There are many generous benefactors of the arts, from both the private and the community sectors (whose names are often written in the foyers of cultural institutions), who commission new artistic works and thereby support artists. However, governments are pivotal in providing, from their annual budgets, funding to support artistic endeavour and the acquisition of art works. This aspect of fiscal responsibility is to do with promoting and enhancing cultural development for the city’s citizens. Because the history of the ACT and the Commonwealth has been intertwined in much of the development of cultural institutions in the nation’s capital and the acquiring of art works, the ACT is home to a diverse collection of public art work that has been commissioned by the ACT and Australian Governments.

In 1995, the ACT Government’s Public Last year I established an ACT Public At the beginning of the new policy Art Program was established with the Art Panel to advise the Government framework, the ACT Minister for the aim of commissioning art works to on new commissions and the existing Arts, Joy Burch, writes: complement Canberra’s urban design collection. The Panel is already playing All great cities around the world are and provide new experiences of the a crucial role in bringing a greater proud of, and distinguished by, their everyday environment. The Program focus and a more stringent eye to the arts and cultural activity; Canberra undertakes a range of activities including Government’s public art activities. is no exception. Remarkable for its planning, commissioning new works, The Government introduced a unique design and inspiring natural maintenance and education. ‘Percent-for-art Scheme’ whereby the vistas, Canberra is home to National In 2006, the ACT Government Government committed an amount Cultural Institutions ... More than this, produced a document, Action equivalent to 1% of the new capital Canberra’s artistic life is underpinned Statement for Pubic Art, 2006 – 2008, works program in a financial year by a myriad of vibrant local arts which outlined three commitments: to support public art projects. The facilities, activities and opportunities ••to care for and promote the allocation of the money was managed for all. by artsACT with advice from the ACT existing collection of public art The new ACT Arts Policy Framework Public Art Panel. ••to encourage the non-government supersedes Arts Canberra: Action sector to commission public art The Action Statement for Public Statement for the Arts 2006-08 and ••to plan for and commission new art Art guided the acquisition and provides a new focus for government works for Canberra. commissioning of much public art support for the arts in coming years. during those years. The statement Under the guidance of this document, The then Chief Minister, Jon Stanhope, has now been superseded with a new I look forward to Canberra remaining wrote in this document: ACT Arts Policy Framework (draft). the ‘cultural capital’ for many more The national capital is home to a Its goals are: years to come. diverse and diverting collection of Goal One: To Increase Community ART IS ALL AROUND US. public art and we Canberrans have the Participation and Access to the Arts pleasure of enjoying the work of some From the wonderful music and of Australia’s finest artists as we go Goal Two: To Support Artistic performing arts that bring iconic about our daily lives. Excellence and Artistic Diversity in Canberra Festivals such as Floriade the ACT and the Multicultural Festival to Public art doesn’t just beautify our life, to the Canberra Symphony city. It is a means of remembering Goal Three: To Strengthen the Orchestra concerts in Commonwealth and celebrating who we are as a Capacity of the Arts to Contribute Park enjoyed by an audience of community. It can inspire us and to Social and Economic Outcomes thousands… Canberra is also home it can challenge us. in the ACT to artists and arts industries that Public art is one of the most Goal Four: To Foster Artistic are recognised for their excellence important ways that the ACT Innovation, Creative Thinking locally, nationally and internationally. Government contributes to the and Sustainability Canberra’s artists are distinguished cultural life of our city… and we are proud to support and celebrate their achievements.

4 THE ART OF BRINGING THE ARTS TO CANBERRA GOING FURTHER

ART CHALLENGES OUR PERCEPTIONS. ••Find out about CAPITheticAL, ••Investigate why the commissioning a design ideas competition for of public art can be a source of We find a part of ourselves in the a hypothetical Australian capital controversy. Occasional letters visions of artists, through art forms city for the 21st century. The original to the editor, in the Canberra such as poetry or painting that help 1911 competition was bold and Times, express a range of views us look differently at our everyday innovative and now, those who about people’s varying tastes experiences, or through literature and wished to participate in the in art, and varying views about film, telling the stories that we know, CAPITheticAL competition, were the money spent on public art. or want to know, or want to be part invited to conceive the big ideas Such issues offer a rich source of, or are glad that we are not part of. that will shape future cities. of ideas that could be debated in Theatre makes us laugh and cry. Music Entries had to be in by 31 January classrooms. An example could be: uplifts and inspires us. The capabilities 2012, and 114 were received from Jon Stanhope made the following and language of the body can move 24 countries, from people such comment that “public art … is us through dance. Whatever form it as architects, artists, urban what a cosmopolitan, dynamic, takes, art transforms chronicles and planners and environmentalists. young city should be investing illuminates the world around us. A short list was announced on in”, Canberra Times, Thursday, ART CREATES COHESION IN OUR 17 May 2012, with the winners 22nd March 2012. Is he right? The COMMUNITY. being announced in March 2013. same article quoted Mr Stanhope The arts contribute immensely See www.capithetical.com.au for (previous chief minister) as saying: to the ACT and are a central and more information and invitations “I’m calling on the government sustainable part of life in our to follow this interesting to embrace public art and not be community. Research shows us that competition. bashful”. Is public art important? the arts help to build an inclusive ••Look at the designs in 1913 that Why? Is spending public money on society, create career pathways, didn’t win the competition (and public art works ethical? Why? provide avenues for expression, all were hypotheticals at the ••Visit the National Portrait Gallery drive innovation, and contribute to time). There were 137 entries which runs programs focussed productivity and economic growth. publicly nominated and 46 were on “patronage” and “the politics Art is a language transcending barriers shortlisted. The design brief of art prizes”. The programs take and cultural differences, invigorating reveals the fact that the capital approximately 90 minutes and and engaging audiences, participants was to be a beautiful and artistic are led by the gallery’s Learning and practitioners alike. It enhances city. The prime minister of the day, Facilitators. Booking is essential. our quality of life and our experience Andrew Fisher, understood the of public spaces and the people that importance of symbols and their inhabit them. design. This is another interesting area for research. The designs ART IS FOR EVERYONE. that won second, third and fourth The acquisition of art works has a places were on display for a few long tradition and in the following months in 2012 in Parliament pages there is information about six House. Their differing elements works of art. They have been acquired, of design are fascinating and to either through a competition, a find out where the designs are, commissioning, or the intervention teachers can contact the National of a benefactor leading to public Archives of Australia. recognition. The aim of this resource is for it to be a launching pad for work with students that leads them to richer, deeper understandings of both the works and how they were acquired and why. Teachers will be able to build on the material in ways that most effectively meet the needs of their students and extend them.

Image courtesy of Brenton McGeachie

SECTION 1 5 EARLY CANBERRA 1913 BY A E MACDONALD—CANBERRA MUSEUM AND GALLERY (CMAG)

A.E. Macdonald Early Canberra 1913 oil on canvas

THE STORY OF THIS ARTWORK AND ITS ACQUISITION This painting is pertinent to the illustrative of the site upon which it is expectation of a bright, open future. celebration of Canberra’s centenary proposed to erect the Federal Capital The painting clearly addressed the and it is the result of a competition, of the Commonwealth but also stated competition brief. The decade after a significant way of acquiring art for that the subject will necessitate a Federation seemed to introduce a the public. A notice was issued from painting of a panoramic nature and new nationalism, which was reflected the Prime Minister’s Department on must be correct in regard to the in much of the art of the time. Thursday 19 December 1912, and then geological features of the landscape in The works of the well-known artists advertised in the Commonwealth of every respect. Midday effect is desired and Hans Heysen, for Australia Gazette No. 80, Saturday in preference to evening or scenic example, expressed this nationalism 21 December 1912. The notice was an effects’. The notion of capturing the with strong, powerful, almost heroic invitation from the Historic Memorials view when it is at its most luminous is landscapes. MacDonald’s landscape Committee to Australian artists to a reference both to Australia’s unique also reflects these ideals. The Historic submit of the site where the light and to the symbolic use of that Memorials Committee’s choice of Federal Capital of the Commonwealth light to point to the bountiful future landscape as the theme for this was to be built. The idea was that open to the newly federated country. important competition reinforces the of G V F Mann, director of the Art notion that the Australian landscape If we want to ‘see’ what Canberra Gallery of NSW at the time and also a was understood as symbolic of was like 100 years ago, MacDonald’s distinguished architect and painter. Australian identity. painting reveals a great deal. It is Little is known about A E MacDonald. an oil painting on canvas showing Who won? It wasn’t A E MacDonald. He was living in , in Wahroonga, the site of Canberra looking from The competition attracted ten at the time of the competition, and the present-day suburb of Ainslie, submissions and the winner was when he submitted his painting towards what would one day be William Lister Lister whose work, on 25 June 1913, he used the nom the city, with St John’s Church, and that of the runner-up, Penleigh de plume, ‘Molonglo’. Perhaps he Canberra’s first church, in the middle Boyd, are displayed in Parliament wanted to identify strongly with the ground. There is evidence of the House, Canberra. Their paintings landscape. The 21 December notice farms that were present at the time. are of the same scene, in a general not only asked for ‘Australian artists The bright light, undulating hills sense, but each has a slightly resident in the various States of the and the open view were intended to different perspective, with different Commonwealth to submit paintings invigorate national pride and build an light and colour.

6 THE ART OF BRINGING THE ARTS TO CANBERRA GOING FURTHER

••Visit all four paintings, those of ••Engage in discussion and research William Lister Lister and Penleigh —when a viewer looks at Early Boyd, as well as MacDonald’s, Canberra, it is important to and a further painting submitted remember that this painting to the same competition, by T doesn’t depict the earliest view Brooke Hansen titled Landscape of the area. Australia’s first people C, 1913, also to be on display at lived here for at least 20,000 years CMAG, and offering students before European settlement. a fascinating insight into What did the area now called landscape oil painting. Canberra look like? In the painting ••Gain further insights into the there are few trees. Was this painting: CMAG may be able always so? What is the history of to provide a talk for students this landscape? Who were the about Early Canberra and its original owners of the land? How significance. did the Indigenous population manage it? Why are there so few ••Explore some of the extensive trees? In 1913, what was life like evidence of the lives of the for early Canberrans? How was it traditional owners of the different for settlers who’d come Canberra region—trees that have from England and Europe? How had large slabs of bark removed, has modern conservation and prior to European settlement, caring for this area developed? possibly to make canoes; axe grinding grooves found on large ••Through careful study of the MacDonald’s painting is a wonderful flat rocks. Examples can be easily painting appropriate the ideas in acquisition by the Canberra Museum found in the Tuggeranong Valley. Early Canberra into the students’ and Gallery (CMAG) and a gift to all The National Trust of Australia own paintings with oils. who come to see and appreciate it. (ACT) provides a brochure for ••Arrange to visit Mugga-Mugga How did it arrive at the gallery? Prior a self-guided heritage tour to experience a cottage and to ACT self government the painting of Tuggeranong. For more landscape that closely resembles was Commonwealth property and information visit the landscape of 1913, the same hung in executive offices of the www.act.nationaltrust.org.au year A E MacDonald painted Department of Territories. It was Early Canberra. transferred to the ACT Government in 1989 and placed in storage. In 1996 it was removed from storage, conserved and hung in the Hospitality Room of the Speaker of the ACT Legislative Assembly. On Canberra Cultural Centre (CCC predecessor of CMAG) curatorial recommendation the painting was acquired by the CCC, whose Interim Acquisitions Committee endorsed the transfer at its 20 March 1997 meeting.

SECTION 2 7 GREAT HALL TAPESTRY BY ARTHUR BOYD AND THE VICTORIAN TAPESTRY WORKSHOP—PARLIAMENT HOUSE

THE STORY OF THIS WORK OF ART AND ITS ACQUISITION Everyone who has visited Australia’s Parliament House will have seen the large, remarkable tapestry at the end of the Great Hall. How did it get there? Who designed it? Who wove it?

Before the tapestry came a painting Authority chose one of these, which by Arthur Boyd (1920 – 1999), one of depicted a dense forest of eucalypts in Australia’s most famous artists and from the valley in south- a family of painters, potters, architects, eastern NSW (where Boyd lived in the writers and sculptors. and ), as the design for the tapestry. The painting is ‘Untitled’ and The commissioning of the tapestry was reflects Boyd’s love of the area with intricately connected with the building its light, colour and the texture of of Australia’s new Parliament House. the forests. The architects, Mitchell/Giurgola & Thorp, asked Boyd to propose an idea Once the painting was chosen, the for a creative work to be situated on making of the tapestry began. It was the south wall of the Great Hall of woven by the equivalent of 14 weavers Parliament House. The hall was to be at the Victorian Tapestry Workshop and used for ceremonial and state occasions it took over two years to complete. and Boyd proposed the idea of a The scale and complexity of the project tapestry, which was accepted. There required much research and planning to was much discussion and planning resolve the technical problems involved of the work as it had to fit with the in producing one of the world’s largest architectural design of the space, and tapestries (measuring approximately emphasise, with the rich timbers, the 20 metres wide by nine metres high), importance of the land. The brief for woven in four separate pieces. Boyd the project, stated: ‘What must evolve worked closely with the weavers in is a mutual design scheme between selecting the specially dyed yarns to the architecture and the work of art match the colours in his painting. in which the south wall becomes a Based on the painting, cartoons (scale magnetising focal point which is the drawings) were prepared by the catalyser of the entire space… the weavers, mounted behind the loom and subject of the tapestry to be developed the colour fields traced on the warp. for this design submission is envisaged Wool was dyed in 300 different colours as a landscape at the scale of the and threads mixed together to obtain room, devoid of man… The tapestry is thousands of colours. The tapestry was expected to be hung in such a way that woven in wool, on a cotton and linen its edges would be slightly free from the support. The finished tapestry is held up wall surface rather than being tightly with velcro fastening. constrained by a peripheral frame or stretcher, thus giving the wall and the The architecture of Parliament House, work of art a greater three-dimensional and the artworks and materials inside quality within the massive scale of the building, are intended to reflect the the room.’ Australian landscape and emphasise the importance of the physical Boyd was commissioned by the environment in shaping Australian Parliament House Construction values. The Great Hall tapestry has Authority to submit a design for the provided a striking backdrop for many tapestry. He painted three large canvases important ceremonial and community as possible designs and in 1984 the events at Parliament House.

8 THE ART OF BRINGING THE ARTS TO CANBERRA GREAT HALL TAPESTRY BY ARTHUR BOYD AND THE VICTORIAN TAPESTRY WORKSHOP—PARLIAMENT HOUSE

Great Hall Tapestry (1984 - 88) Artist: Arthur BOYD (1920 - 1999) Interpretation and execution: Victorian Tapestry Workshop (est. 1976) Wool, mercerised cotton and linen weft on a seine warp, 9m x 20m. Reproduced courtesy of Courtesy of Parliament House Art Collection, Canberra, A.C.T.

GOING FURTHER

••Research Arthur Boyd’s life and ••Follow the progress of the Canberra ••Visit Parliament House where the work, and that of others in the Community Centenary Tapestry, paintings (canvases) as well as the . which is an 18-month community tapestry can be seen. As mentioned ••Research the details of the design arts project to create a large earlier, the paintings by William of Parliament House and its scale woven tapestry to celebrate Lister Lister and th symbolic places—the forecourt Canberra’s 100 birthday in 2013, are also on display at Parliament which refers to the period before www.canberra100communitytapestry. House; discover the range of the arrival of Europeans. The foyer, com. This project has been funded timbers used in Parliament House. Great Hall and the Members’ Hall by the Community Centenary ••Research the ongoing work of the also have symbols in their design. Initiatives Fund, with support from Victorian Tapestry Workshop, now the Legislative Assembly of the ••Find out more about tapestry known as the Australian Tapestry ACT and the Textiles Workshop at (which has a long tradition of Workshop. the Australian National University telling stories from history, e.g. ••Design and make a tapestry for School of Art. The finished tapestry, the Bayeux Tapestry). How have a significant event in a school’s life. along with the smaller tapestries, the techniques used in making Could the school commission such will be exhibited in the Legislative tapestries changed over time? Of a work? Assembly of the ACT in late 2013. special significance, in this context After the exhibition, the large scale of looking at tapestries, is the work Canberra Centenary Community of Valerie Kirk, Head of Textiles Tapestry will become part of the at ANU School of Art. She was a Assembly’s extensive and significant weaver at the Victorian Tapestry art collection, which recognises the Workshop, earlier in her career. See breadth and depth of artistic talent www.valeriekirktapestry.com. Many and interests in the region. of her works are on display around Canberra, for example, at ANU’s University House.

SECTION 1 9 ICARUS BY JAN BROWN—PETRIE PLAZA, CIVIC, CANBERRA

THE STORY OF THE ART WORK AND ITS ACQUISTION This sculpture, by Jan Brown, a an exhibition of by Brown, made without shrinking and cracking. renowned Canberra artist with an who loves the bird and animal life of The whole process of creating international reputation, stands the region. The exhibition included bronze sculptures is collaborative, imposingly along the walkway of bird bronzes and the Icarus group— with the artist working closely with Petrie Plaza, Civic. It became available a smaller version than the one we foundry colleagues. to the public through the intervention see outside the David Jones store. The challenging process of scaling of a Canberra gallery owner. It depicts As mentioned earlier in this resource, up Brown’s original Icarus sculptures the story of Icarus, from Greek a Public Art Panel had been established was done at the Australian National mythology, and his attempt to escape by the Chief Minister. The panel University (ANU) sculpture workshop from Crete by means of wings that members were impressed by Brown’s and the actual bronze casting at the his father constructed from feathers sculptures, especially with the Icarus Meridian Foundry in Melbourne. and wax. His pride led him to ignore work and made the suggestion Overcoming considerable difficulties, instructions not to fly too close to that Icarus be scaled up to make it large clay models were made at the the sun, and the melting wax caused suitable for a public art work in Civic. ANU, silicone-coated, and plaster him to fall into the sea where he This project was commissioned under was cast for each part of the whole drowned. This story of human folly the Percent for Arts scheme. sculpture. These were transported to is remarkably depicted in the four Icarus was made by what is called the Meridian Foundry in Melbourne, works that make up Icarus, and that the lost wax method, an ancient and members of the Meridian Foundry Brown created between 2004 and technique that was first developed assisted in the various stages from 2006. The four bronze figures are by the Chinese in 3000 BC. Very little mold making, wax chasing, bronze part human and part bird showing about the fundamental process casting, welding and application the transition from a robust form has changed. The basic idea of the of patina and coating. It was then in Icarus 1, to broken and pitiable process is to make a wax positive of transported back to Canberra, where appearances in Icarus 2 and 3, and then, the shape that is to be cast. The wax the artist, the Redbox Design group in Icarus 4 a transformation into an is then molded with a refractory (heat who had constructed the plinth, and almost complete bird form, perhaps resistant) material. The mold is then others, managed the difficult job of one who now can fly well and has heated to melt away the wax. Molten installing the sculpture. It is a thought- learnt the lesson—to beware pride. metal is then poured into the cavity provoking presence in Civic, Canberra, In 2008, the Beaver Gallery in Deakin, that the “lost wax” has created. This watching over workers and shoppers an inner suburb of Canberra, hosted way, large hollow sculptures can be as they pass by.

10 THE ART OF BRINGING THE ARTS TO CANBERRA Image courtesy of Ben Wrigley

GOING FURTHER

••Investigate the process of making bronze sculptures. Jan Brown uses ciment fondu, a relatively inexpensive, endurable casting material that is suitable for works being made in a small workshop. What are other methods/processes of casting bronze? What are the impacts for the artist and the buyer? ••Research the life and works of Jan Brown, a Canberra resident. The previously mentioned, and famous, kangaroos at Nerang Pool, in Commonwealth Park, are her work. She was invited by the National Capital Development Commission in 1979 to make a sculpture for Commonwealth Park—Kangaroos was the result. ••Go on a tour of sculptures and installations around Canberra. On February 20, 2012 The Canberra Times included In the City Magazine/Arts Trail Souvenir Liftout containing an excellent article, by Douglas Fry and Miled Achi, called Arts Trail, about public art and in particular 60 public art works around Canberra. There is also a map and information about, and photo of, each art work by Andrew Babington. Icarus is on this Arts Trail. ••Visit the Sculpture Garden at the National Gallery of Australia. ••Research the life and work of Henry Moore, a famous English Sculptor, who taught Jan Brown at the Chelsea Polytechnic School of Art, London, and find his work in Canberra. ••Visit Canberra Museum and Gallery, where some of Jan Brown’s drawings can be found. ••Visit Strathnairn Gallery which has a metal sculpture foundry—Stockdill Drive, Holt. ••ANU—Sculpture Workshop.

SECTION 1 11 “THE CENTENARY OF CANBERRA IS AN OPPORTUNITY FOR ALL AUSTRALIANS TO CELEBRATE THE GREAT ACHIEVEMENTS OF THE CANBERRA REGION AND INDEED OUR NATION. THAT IS WHY THE AUSTRALIAN GOVERNMENT HAS CONTRIBUTED $67.6 MILLION TO THE CENTENARY OF CANBERRA.” (Simon Crean, MP Minister for Regional Australia, Regional Development and Local Government, in a news release regarding the Centenary Scientific Residency Commission, 30 March 2012)

As part of the centenary, and the many commissioned works to be presented in 2013, three commissioned artistic works are presented as part of this resource.

STELLRSCOPE BY ELEANOR GATES-STUART—A MAJOR VISUAL ARTS PRODUCTION, QUESTACON 2013

THE STORY OF THIS WORK OF ART AND ITS ACQUISITION StellrScope is a perfect example of the Eleanor Gates-Stuart was awarded tools being tweezers. CSIRO continues fusion of art, science, mathematics the commission with her concept to work with wheat, using highly and digital technologies to produce of StellrScope and her residency is sophisticated tools and techniques, an extraordinarily creative and with CSIRO. Her project explores and to improve the quality of bread for innovative art work. It is sure to builds on the story connecting the the benefit of today’s citizens and inspire all viewers, including school Canberra region to Australia’s major associated economic growth. students, about the beauty of, not just crop, wheat, from the time of William In the media news release, 30 March the visual arts, but also science and Farrer through to the modern era. 2012, announcing that Gates-Stuart mathematics. As a fine arts practitioner, to an artist was the local artist to take up the working in fields of design, digital This exciting project comes about Centenary scientific residency, the art and communicating science, through the Centenary Science ACT Chief Minister, Katy Gallagher, Gates-Stuart has taken on what she Art Commission. The Centenary of commented that recognising describes as a ‘massive’ project, to tell Canberra Unit of the Chief Minister Canberra’s role in the nation’s this agricultural and scientific story in and Cabinet Directorate of the ACT scientific achievements was an new and exquisitely beautiful ways. Government launched a Science important goal and legacy of the As more than one person has said to Art competition for a commission Centenary and Mr Crean, MP, said her, ‘Who would have thought wheat and exhibition in 2013 of new work. that Gates-Stuart’s proposal joined could be so interesting!’ The Request for Proposal, late 2011, the dots between art, science and called for a research and development StellrScope focuses on the physical agriculture. The acquisition of this program in collaboration with and biochemical traits of organisms in project is significant for Canberra and a nominated science institution physical plant structures, simplifying Australia as a whole. approved by the Territory. The complex visualisation data and This project, probably more accurately intention was that an artist from images to construct a digital video. described as an event, will result in the Canberra region would work in It uses the latest technology, multiple a series of scientific art works for residence with a nominated science digital projects and digital alignment exhibition at Questacon in August 2013, institution to develop a new work to immerse viewers in the world during the celebration of 25 years of for exhibition for the Centenary of of wheat so that they can see the Questacon. It will be an interactive, Canberra. An associated aim was to remarkable stages of wheat growth immersive environment. An exhibition draw attention to the great strengths and development and the importance documenting the StellrScope of Canberra in the field of science of, as one of Gates-Stuart’s science residency will also be presented at and some of the interesting ways that colleagues expressed it, researching the CSIRO Discovery Centre including Canberra artists are working with ‘the holes in bread’. William Farrer a series of digital art works. scientists and innovative technologies understood the importance of wheat to produce new works. for Australia and he experimented with cross breeding, one of his main

12 THE ART OF BRINGING THE ARTS TO CANBERRA GOING FURTHER

••Research the life and work of ••Follow Gates-Stuart’s work— Eleanor Gates-Stuart who comes www.eleanorgatesturat.com.au/ from an English background and egs/RESEARCH. is a printmaker by trade. Like Jan ••Visit the CSIRO Discovery Centre Brown (Icarus) she studied at the regarding the work being done Chelsea College of Art. around the issue of food. ••Explore Gates-Stuart’s association ••Visit Megalo Print studios. with the Australian National ••Experiment with digital image Centre for the Public Awareness processing (e.g. photoshop) to of Science (CPAS). It is the world’s layer students’ photographs. most diverse academic science communication centre, located ••Research William Farrer (b. at the ANU in Canberra. They train 1845) and his work with wheat, highly qualified scientists to conducted in the Canberra region. become skilled communicators He and his wife, Nina, lived at who can excite the imagination Cuppacumbalong near Tharwa, of the public about science and and then at Lambrigg, just a short encourage informed decisions distance from the suburb of about scientific issues that will Gordon, where he is buried. concern us in the 21st century.

MAGICal (re)Mix by Eleanor Gates-Stuart

SECTION 3 13 PRIME TIME BY JOHN SHORTIS AND MOYA SIMPSON—TO BE PERFORMED IN 2013

THE STORY OF THIS ART WORK AND ITS ACQUISITION Music and singing are loved and evolving, adapting and responding are stories attached to the making appreciated art forms. Songs express to dramatic events, social and of the song itself, as in the case of the widest range of human emotions technological changes, big issues, as George Reid (prime minister for 10 and experiences, including the painful, well as the day-to-day tasks involved months, eighteen days, 18 August the hilarious, the lovely and the in daily living. Prime Time looks at 1904 – 5 July 1905). His Scottish critical. Satire has frequently found power, the urge to win, and how grandmother was a subject of a poem a home in song and John Shortis and politics plays out its drama. Canberra of Robert Burns. John Shortis, having Moya Simpson are expert and highly is very much at the heart of this story. discovered this interesting fact about talented musical performers and Reid’s family, has used the poem in the Prime Time has been conceived satirists. Shortis writes the songs song about George Reid. by John Shortis, and it is funded and scripts, gaining his inspiration primarily by the Centenary of Writing about the production, from newspapers, biographies and Canberra. Shortis is joined by Moya John Shortis says: ‘Australia’s PMs are stories accessed through libraries Simpson and two other actor-singers, a fascinating bunch. We’ve had a Latin and archives. Simpson sings, acts and and a chorus, (from the Worldly speaker, a Mandarin speaker, one born can mimic a wide range of accents. Goods Choir) that will also provide on a ship off Chile. There have been Together they write, produce and vocal backing as well as being used spiritualists, atheists, republicans, perform shows that reflect Australian to form tableaux scenes of crowds, monarchists, graziers and bodgies. history and politics. parliamentarians and other needed One governed for 16 years, another In 2008, Shortis gained a fellowship groups. The show is being written/ for 40 days and 40 nights. Some have that entitled him to a residency at dramaturged by John Romeril and had universities named after them, the Prime Ministers’ Centre at the directed by Catherine Langman. others swimming pools and pubs. Museum of Australian Democracy While a few of their houses have been The show combines musical cabaret at Old Parliament House and which preserved as museums, one of their with theatre and multi-media provided financial support of houses became a fast food outlet. elements. Resources from the approximately $16,000. The residency Many are Rhodes Scholars, others National Film and Sound Archive enabled him to research eight self-educated, and they’ve been called will add drama to the production. Australian prime ministers and write everything from affable to merciless. While the prime ministers and the two songs about each-one about the They’ve given us an array of eyebrows, populace occupy the foreground of politics and one about the person. hairdos, pipes and spectacles, and the show, through the cast and the Shortis then launched into writing between them they’ve had the choir, the sites where they worked two songs about every prime minister unenviable task of leading our country and the speeches they made will and received funding from artsACT through eleven turbulent decades.’ be projected all around the theatre. to work with a writer, director and There will be intimate glimpses of the In advertising the production the actors to explore the possibility of lives of the prime ministers and the following accurately describes this developing a show from some of irony of some situations. An example show—funny, moving, informative, these songs. Robyn Archer AO, the is that of our Australia’s first prime entertaining—Prime Ministers at their Centenary of Canberra creative minister, Edmund Barton, a brilliant, best and worst. Don’t miss ‘Prime director, attended a showing of that scholarly man, who lived in Sydney Time’ at The Q, , development stage and expressed with his family. When in Melbourne, May 22 – June 1, 2013. an interest in supporting the work where parliament met, he was through further creative development accommodated in a small, cheap and a possible performance outcome attic, where he is known to have, in 2013. From this came a definite on occasions, cooked a chop over an commission of the work, called open fire for his dinner. Barton was Prime Time, for Canberra’s centenary also pragmatic and humble. No doubt celebrations. his English peers would have been Prime Time is a full-length musical astonished at such circumstances, theatre production about Australia let alone politicians of today. since Federation, told through Creating such a show requires much the personal and political lives research, sifting through enormous of Australia’s 27 prime ministers. amounts of material to find the ‘gem’ It explores the drama and humour that then becomes the focus of the surrounding them and their eras, scene or the song. Sometimes there telling of a people and a democracy

14 THE ART OF BRINGING THE ARTS TO CANBERRA It’s time.

MOST SECRET

E PRIME TIM

27 PRIME MINISTERS

AT THEIR BEST & WORST

Design by Design Edge, photo Fred Harden

GOING FURTHER

••Attend a performance ofPrime Time. ••Illustrate serious and comical aspects of one fact/person in text, song or visual art. ••Experiment with lighting with different colour lamps, e.g. using cellophane and experiment with projections combined with live performers. ••Write satirical verses on topics of choice. ••Research a prime minister, in depth.

SECTION 3 15 HIPBONE STICKING OUT (YIJALA YALA PROJECT) BY BIG HART—CANBERRA THEATRE, 2013

Young men from Roebourne, known as the Love Punks, on set for one of the films made as part of the Yijala Yala Project. THE STORY OF THIS WORK OF ART AND ITS ACQUISITION Big hART is made up of researchers, of Tasmania in 1992, by John Bakes Australian Theatre in Canberra. Indeed, artists, art workers, producers, and award-winning writer/director, Robyn Archer said of the company, community builders and field Scott Rankin, with an initial grant of in March 2008, ‘There is no company I workers, all committed to the arts $15,000. In 1992, the city of Burnie on admire more in Australia.’ 2012 has seen and social change. As a creative the north-west coast of Tasmania was Big hART celebrate two remarkable production company it has produced in turmoil. The local paper mills had decades of expanding well beyond two previous works, Namatjira and sustained the region for decades, but Tasmania and becoming a national arts Ngapartji Ngapartji One, that have now they were downsizing drastically. and social change company. received national acclaim. This work, The community was in serious The Yijala Yala Project is the inter- Hipbone Sticking Out, is the third in economic trouble, and starting to generational, long-term arts project what is seen as a trilogy. It comes from spiral into a complex web of social that works with the community of one of Australia’s most isolated and problems. Big hART became involved, Roebourne to produce art across a exhilarating communities, Roebourne working creatively with young people range of media. The theatre work from (Ieramugadu), in the Pilbara, Western and families experiencing trauma this project is a highly collaborative Australia. It is a fascinating inclusion and disadvantage. The outcome and complex work that immerses in the commissions for the Centenary was a series of long-term projects the audience in drama, dance, music, of Canberra and reminds us that the which included Big hART’s inaugural visual art and multi-modal media. centenary is for all Australians. production, GIRL—a theatre piece, The main reason for the show, and designed and constructed using paper There is a story behind the story where it draws a lot of its texture and from Burnie paper mill, that followed of this production. Big hART is a ambience is the Burrup Peninsula, the descent of a fragile young girl national, award-winning organisation, known as Murujuga to its custodians into the juvenile justice system. GIRL working to re-engage marginalised the Ngarluma people, which caught the eye of Artistic Director communities and individuals through translates as ‘hipbone sticking out’. Robyn Archer, who invited the arts-based projects. The organisation It is one of Australia’s most significant company to the National Festival of was founded on the north west coast cultural heritage sites, with thousands

16 THE ART OF BRINGING THE ARTS TO CANBERRA of petroglyphs (art etched onto the history and looking to the future. establish long-term and meaningful surface of rocks) found throughout The two words, Yijala and Yala mean relationships with the communities the peninsula – some thought to be ‘now’ in Ngarluma and Yindjibarndi, where they operate. They aim to over 30,000 years old. Hipbone Sticking the two main languages of the Pilbara achieve these relationships by Out tells the story of the Aboriginal region. The Yijala Yala Project and its understanding and managing the people of Murujuga from ngurra production Hipbone Sticking Out is impacts its operations may have nyujunggamu ‘when the world was about the ‘now’ of all times, past, on communities and through the soft’ and creation spirits carved the present and future. development and implementation of land, to the incredible mining boom programs that deliver mutual benefits. There are other threads running of the present. Through a mythical When a Woodside employee saw through the production of this narrator, the audience is taken on Big hART’s play Ngapartji Ngapartji artwork that make it extremely a journey that inverts history, with the company realised the healing interesting. In Ieramugadu, burning the Pilbara being the ‘old world’ and potential in such productions. issues include: how do the custodians Europe ‘the new’ and includes familiar Woodside has a community relations of Murujuga maintain, conserve and historical elements such as Greco/ strategy, one aspect of which manage this incredibly significant Roman gods, the paintings of Vermeer, contributes significant amounts of cultural site in amongst all the the 1713 Treaty of Utrecht, the Dutch funding for regional programs, and industrial activity, the complex East India Company, Terra Nullius, the support of Indigenous well-being relationship between the local damming of rivers, pearlers, Aboriginal and cultural heritage. Indigenous groups and the ‘fly-in, reservations, the first mining boom fly-out’ mining staff and contractors, The Centenary of Canberra’s support and much more. There are ‘high how the resources boom affects of Hipbone Sticking Out ensures that moments’ that reveal the greatness land, culture, society and family an important production is seen on a of humanity but also some of the relationships of the local people and national stage of celebrations, sharing darkest moments of history, not least what will be left behind once the the cultural strength and gift of the Australia’s tragic past to do with the mining ends. Alongside these complex Pilbara. It involves the actor Trevor deaths of Aboriginal people, whether issues is the fact that the mining Jamieson, who played the central ‘in custody’ (as with John Pat) or from industry also brings opportunity for roles in Ngapartji Ngapartji One, illness and lack of care. communities in the way of increased Namatjira and many other artists, This production is exhilarating and employment and better social musicians and performers. challenging. It inverts our notions of services. Yijala Yala Project’s major nationhood and takes the audience funding body is Woodside Energy beyond the usual linear view of Ltd, a gas company that seeks to

GOING FURTHER

••Attend the performance of Hipbone Sticking Out. ••Research the Burrup Peninsula—what are the issues? What is the history of the area? ••Visit the Big hART website: www.bighart.org. There is a blog that can be followed as more work is done on productions by Big hART. ••Visit www.facebook.com/pages/yijala-yala for ongoing communication and updates about the production; also www.yijalayala.bighart.org. ••Discuss and debate topics to do with mining in Western Australia; deaths in custody; nuclear testing at Maralinga. ••Explore personal stories and art work, using a range of forms and media.

SECTION 3 17 THE AUSTRALIAN CURRICULUM

At the time of writing this resource, the Australian Curriculum, Assessment and Reporting Authority, ACARA, has released curriculum for English, Mathematics, Science and History, Foundation—Year 10, with Phase 2 well underway (the Arts, Languages and Geography) and work beginning on Phase 3 learning areas (P/Health, Technologies Civics and Citizenship, Business and Economics). Curriculum for Years 11 and 12 is also being developed, released for consultation, rewriting and final release for implementation in schools.

The Arts curriculum is being written and will go through connect many creative and mainstream industries a process of trialling, consultation, and rewriting, ready contributing to the development of a vibrant, for release and implementation early in 2013. The five arts modern and inclusive society. forms in the curriculum are music, visual arts, drama, This resource could form the basis of a unit of work dance and media and the art works explored in this that a teacher may want to develop, particularly for the resource cover the five forms. While the specific content centenary year. Likewise, it could support current units is not yet available, the rationale for, and aims of, the Arts of work. It certainly connects with a large number of the curriculum for all Australian students, Foundation to Year aims iterated in that Introduction to the Shape paper for 12, are expressed in the Introduction of the paper ‘Shape the Arts and which will be embedded in the content of the of the Australian Curriculum: the Arts’ (August 2011). Arts curriculum. Likewise, when looking at the art works The following points from the Shape paper have some presented here, teachers will be able to make significant highlighted parts, indicating particular relevance to the links with other subjects, English, History, Science and purpose of this resource: Mathematics and Technologies. Knowledge has traditionally ••An education rich in the Arts maximises opportunities been codified in these disciplines. However, the 21st century for learners to engage with innovative thinkers presents learners with a complex, information-rich and and leaders and to experience the Arts both as globalised world, and teaching in schools must reflect such audience members and as artists. Such as education a world with greater integration of knowledge areas and the is vital to students’ success as individuals and as development of understanding across disciplines. The Arts members of society, emphasising not only creativity offer a significant opportunity to do just that. and imagination, but also the values of cultural understanding and social harmony that the Arts Teachers will readily see the connections between the can engender (National Education and the Arts art works presented in this resource and other important Statement 2007). elements in the Australian Curriculum: ••Through studying and engaging in the Arts, students LINKS WITH THE AUSTRALIAN CURRICULUM will develop specific knowledge, skills and processes, and also create art works. Through learning to appraise and critique art works, artists and artistic practices, The six art works presented in this resource offer many they will learn to value the uniqueness of each art opportunities for teachers to make connections with the form, and to understand the social, historical and other learning areas that currently comprise, or soon cultural contexts of art forms. Students will learn will be included in, the Australian Curriculum: English, that the Arts are central to creative communities History, Geography, Science and Mathematics, Languages, and cultures. The Arts provide evidence of the Health/PE, Technology, Civics and Citizenship, Business and creative and cultural life of a community. Economics ••In a curriculum for the twenty-first century, students The following are examples of, and prompts for, will experience and learn about the five Arts subjects: intentions and content (in the Phase 1 learning areas) dance, drama, media arts, music and visual arts. In the that teachers could consider within an interdisciplinary Arts, students need to know what questions to ask, approach to exploring the art works presented in this especially when encountering an art work of another resource. The details of the Year 9 and Year 10 English era, culture or unfamiliar medium. Young Australians curriculum demonstrate how pertinent and useful it need the confidence to access the Arts, and to understand is for Arts teachers to consider and build on content the contemporary manifestations of each art form as from other learning areas. The other subjects links well as their social, cultural and historical contexts. have been presented in more general terms and teachers ••As emerging critical and creative thinkers, students are encourage to look for those content links in the will gain the confidence and the tools to understand Australian Curriculum, Phase 1, and then as Phases 2 and critique the Arts in everyday life. Students will and 3 are published. learn that the Arts exist in process as much as in finished artistic products. Process does not have to result in a product or performance. Through their Arts studies, students will discover that artists work both individually and in groups, and that the Arts

18 THE ART OF BRINGING THE ARTS TO CANBERRA THE AUSTRALIAN CURRICULUM: ENGLISH Content: The Rationale says: The study of English is central to the ACELY1572: evaluate the impact on audiences of different learning and development of all young Australians. It helps choices in the representation of still and moving images create confident communicators, imaginative thinkers and ACELYA1571: refine vocabulary choices to discriminate informed citizens. It is through the study of English that between shades of meaning, with deliberate attention to individuals learn to analyse, understand, communicate with the effect on audiences and build relationships with others and with the world around them. The study of English helps young people ACELT 1643: compare and evaluate how ‘voice’ as a literary develop the knowledge and skills needed for education, device can be used in a range of different texts such as training and the workplace. It helps them become ethical, poetry to evoke particular emotional responses thoughtful, informed and active members of society. ACELY1756: create sustained texts, including texts that The Australian Curriculum: English, Year 9: Students engage combine specific digital or media content, for imaginative, with a variety of texts for enjoyment. They interpret, create, informative, or persuasive purposes that reflect on evaluate, discuss and perform a wide range of literary challenging and complex issues texts in which the primary purpose is aesthetic, as well as texts designed to inform and persuade. These include Students in Years 9 - 12 are expected to read, view, listen to, various types of media texts, including newspapers, film speak about, and write about, a wide range of texts – each and digital texts, fiction, non-fiction, poetry, dramatic of the six art works is a valuable text. performances and multimodal texts, with themes and THE AUSTRALIAN CURRICULUM: HISTORY issues involving levels of abstraction, higher order reasoning ••The Rationale says: Awareness of history is an essential and intertextual references. Students develop a critical characteristic of any society, and historical knowledge understanding of the contemporary media, and the is fundamental to understanding ourselves and differences between media texts. others. It promotes the understanding of societies, Content: events, movements and developments that have shaped humanity from earliest times. It helps student ACELA1553: understand that authors innovate with text appreciate how the world and its people have changed, structures and language for specific purposes as well as the significant continuities that exist to the ACELA1557: explain how authors creatively use the present day… The study of history is based on evidence structures of sentences and clauses for particular effects derived from remains of the past. It is interpretative by nature, promotes debate and encourages thinking about ACELA1561: identify how vocabulary choices contribute to human values, including present and future challenges. specificity, abstraction and stylistic effectiveness Clearly there are links between these concepts and ACELT1635: explore and reflect on personal understanding each of the art works: Early Canberra (the history of of the world and significant human experiences gained from Canberra); the Boyd tapestry (the history of Parliament interpreting various representations of life matters in texts House); Icarus (Greek mythology and the history of sculpture); Prime Time (the history of our Federal ACELT1773: create literary texts, including hybrid texts, that Government and its Prime Ministers); Hipbone Sticking innovate on aspects of other texts, for example, parody, Out ( Yijala Yala Project) (aboriginal history, particularly allusion and appropriation in the Pilbara as well as world history across centuries); ACELT1638: experiment with the ways that language and StellrScope (the history of wheat in Australia and features, images and sound can be adapted in literary texts, the work of William Farrer). for example the effects of stereotypical characters and ••The history curriculum presents content about settings, the playfulness of humour and pun and the use historical inquiry skills which would be useful tools of hyperlink for Arts students’ inquiries about art works. ACELY1740: listen to spoken [and sung] texts constructed for different purposes, for example to entertain and to persuade, and analyse how language features of these texts position listeners to respond in particular ways. The Australian Curriculum: English, Year 10: Students engage with a variety of texts for enjoyment. They interpret, create, evaluate, discuss and perform a wide range of literary texts in which the primary purpose is aesthetic, as well as texts designed to inform and persuade. These include various types of media texts, including newspapers, film and digital texts, fiction, non-fiction, poetry, dramatic performances and multimodal texts, with themes and issues involving levels of abstraction, higher order reasoning and intertextual references. Students develop critical understanding of the contemporary media and the differences between media texts. Romola TEMPLEMAN Portrait of Jan Brown 2009 oil on canvas 101 x 152 cm CMAG Collection

SECTION 4 19 THE AUSTRALIAN CURRICULUM: MATHEMATICS and broadly in activities that require reason, logic, ••The Rationale says: Learning mathematics creates resourcefulness, imagination and innovation in all opportunities for and enriches the lives of all learning areas. (The Australian Curriculum Shape Paper Australians… It develops the numeracy capabilities v.3) Each of the artists represented in this resource is that all students need in their personal, work and a model for this capability. civic life, and provides the fundamentals on which ••The Cross-curriculum priority of Aboriginal and Torres mathematical specialities and professional applications Strait Islander histories and culture whereby all young of mathematics are built… Mathematics aims to instil Australians will be given the opportunity to gain a in students an appreciation of the elegance and power deeper understanding and appreciation of Aboriginal of mathematical reasoning. Mathematical ideas have and Torres Strait Islander histories and cultures, evolved across all cultures over thousands of years, their significance for Australia and the impact these and are constantly developing. Digital technologies are have had, and continue to have, on our world. (The facilitating this expansion of ideas and providing access Australian Curriculum Shape Paper v.3) In the pages to new tools for continuing mathematical exploration at the beginning of each subject in Phase 1, further and invention. There are mathematical concepts information is supplied. This priority involves students involved in music and writing lyrics (Prime Time); actively engaging with the world’s oldest continuous any discussion with Eleanor Gates-Stuart and how living cultures and the principles and virtues that are she is creating StellrScope will include mathematical deeply embedded within these communities. These concepts; when casting a bronze sculpture, especially principles include caring for Country, caring for each when scaling it up from a much smaller sculpture, other and respecting the systems embedded in the mathematical concepts are involved (Icarus); when concepts of Country and Place, People, Culture and transferring a painting to a larger tapestry, mathematics Identity, including the links and lessons from the past. is involved (the Untitled Tapestry, Parliament House). The priority provides opportunities for learners to understand the histories of Aboriginal and Torres Strait THE AUSTRALIAN CURRICULUM: SCIENCE Islander peoples before colonisation and investigate ••The Rationale says: Science provides an empirical way the shared histories and resulting relationships since of answering interesting and important questions colonisation. AE MacDonald’s Early Canberra could be about the biological, physical and technological a starting point for looking at Canberra’s development world… Science is a dynamic, collaborative and and how local aboriginal history links with that. More creative human endeavour arising from our desire significantly, Hipbone Sticking Out (Yijala Yala Project) to make sense of our world through exploring the relates deeply to this priority. unknown, investigating universal mysteries, making ACKNOWLEDGEMENTS predictions and solving problems… In addition to its practical applications, learning science is a valuable This education resource was written and developed by pursuit in its own right. Students can experience the Chris Melican. joy of scientific discovery and nurture their natural Thank you to the following people who generously gave curiosity about the world around them. In doing this of their time for interviews or to help with information: they develop critical and creative thinking skills and Jan Brown, Eleanor Gates-Stuart, John Shortis, Debra Myer, challenge themselves to identify questions and draw Kylie Scroope, Sophie Chessell, Amanda Poland and evidence-based conclusions using scientific methods. Ann McMahon. Scientific knowledge and skills have been used in the development of Icarus, the Untitled Tapestry and Thank you to Dr Susanne Ilschner for her development StellrScope. assistance. FURTHER LINKS WITH THE AUSTRALIAN CURRICULUM REFERENCES/BIBLIOGRAPHY ••The general capability, ethical behaviour, whereby The Australian Curriculum Phase 1 (English, Mathematics, students develop ethical understanding as they Science and History) www.acara.edu.au learn to recognise and understand matters of ethical concern, make reasoned judgments and, in so doing, The Shape of the Australian Curriculum v.3 develop a personal ethical framework. This includes www.acara.edu.au understanding the role of ethical principles, and values The Shape of the Australian Curriculum: the Arts in human life; acting with integrity and regard for the www.acara.edu.au rights of others; and having a desire to work for the common good. (The Australian Curriculum Shape Fact Sheets provided by Parliament House Paper v.3) The acquiring of public art work, as well as Deborah Clark (Curator, 2008), Jan Brown, Sculptures, the content within some of them (e.g Prime Time) and Prints and Drawings, Canberra Museum and Gallery the context of others (funding of Big hART in the Pilbara), offer opportunities for discussion and debate. ACT Government (2006 - 08) Arts Canberra: Action Statement for Public Art ••The General Capability, Critical and creative thinking, whereby students develop critical and creative thinking ACT Government (2012), Draft ACT Arts Policy Framework skills and suppositions as they learn to generate and evaluate knowledge, ideas and possibilities, and use Professor Sir Ernest Gombrich OM (1960), Art and Illusion: them in combination when seeking new pathways A Study in the Psychology of Pictorial Representation or solutions. This includes learning to think deeply The Canberra Times

20 THE ART OF BRINGING THE ARTS TO CANBERRA FOUR BEAUTIFUL SEASONS, TWELVE FANTASTIC MONTHS, ONE VERY BIG YEAR

Canberra’s 100th birthday is an event to be celebrated, not only by Canberrans, but by all Australians. The ACT Government has established the Centenary of Canberra Unit to coordinate the celebrations. The vision and goals of the Centenary of Canberra are stated below. VISION All Australians proudly celebrate and share in the centenary of Canberra, our nation’s capital—the city that tells the story of our country’s freedom, spirit, achievements and aspirations. GOALS ••increase the pride and ownership of Australians in their capital ••fully engage the community of Canberra, the Capital region, and the broader Australian community in the celebrations ••establish enduring international recognition of Canberra, and its role as the capital ••build the positive image and reputation of Canberra as a city and community ••build lasting legacies of community value through memorable celebrations and high quality projects ••create impetus for future development of the national capital. Please refer to the www.canberra100.com.au for further information. The celebration of the Centenary of Canberra would not be possible without the following corporate support:

PRINCIPAL PARTNER MAJOR SUPPORTERS