Melbourne Knowledge Week: catch up with the future (original) (raw)
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2014
Dressed in a handsome waistcoat, the White Rabbit is running out of time, hastily scurrying about and panting to the sound of each tick from his elegant pocket watch. Alice, in her curiosity, eagerly chases after him. Caught in the intrigue of the chase, Alice has no time to hesitate as she falls down the rabbit hole… Yet there is an art to falling down the rabbit hole. Somewhere between the relentless chase and the unexpected fall is a potent collision of inner and outer creative worlds. A fantastical chaos between the personal and the social, intuition and logic, sub-consciousness and consciousness, fact and fiction, sense and nonsense. It is at this enchanted moment that a complete immersion in the creative process takes over… and all sense of time is lost. This loss of time carries more meaning than just being immersed in creative curiosity. It signifies the disorientation of the protagonist while simultaneously acting as a narration device in disorienting the reader. That is, encountering a surreal world disorients Alice. As she becomes curiously immersed in this world, she loses the ability to decipher reality from fiction. In doing so, Alice transports the reader into the same dilemma, shifting them from familiar to unknown territories of their imagination. In short, this disorientation process suspends the reader's disbelief. This notion of creative curiosity is the central curatorial premise for the Down the Rabbit Hole exhibition. Initiating a unique cross-institutional collaboration between Queensland College of Art (QCA), Griffith University, Brisbane, and the University of Southern Queensland (USQ), Toowoomba, Down the Rabbit Hole showcases both two-and three-dimensional works by twenty-two emerging artists: Kathy Appleby,
Chapter 22 Visual Arts in Australian culture
It Wasn’t Me, I Won’t Do It Again, 2022
An illustrated memoir by Victor Gordon, a socially-engaged South African-born Australian artist. His art practice incorporates strongly-held social views and personal concerns peppered - with humour. Prolifically illustrated throughout with over 260 images addressing an extensive range of social issues. www.victorgordon.com
Artist interviews – new art for Medicine: The Wellcome Galleries
Science Museum Group Journal, 2021
Opened in November 2019, Medicine: The Wellcome Galleries showcases four major new art commissions at the Science Museum, London. This article brings artistic and curatorial voices to reflect on their meaning, as Curator of Art Collections, Katy Barrett, talks with artists Eleanor Crook, Marc Quinn, and Sophie Nielsen and Rolf Knudsen of Studio Roso. They consider the process of producing the works, what they were inspired by and what is different about working in a medical or science context. This allows Barrett to reflect on all four commissions, how they fit into the history of art at the Science Museum, what they bring to the Museum’s collections, and what can be learnt from art in looking at and understanding science.
2018
Eds., Irina D. Costache and Clare Kunny Collaboration and interdisciplinary practice in the museum are on the rise. Academics, Artists, and Museums examines twenty-first century partnerships between the museum and higher education sectors, with a focus on art museums and exhibits. The edited volume offers detailed analysis of how innovative curatorial relationships between museums and academia have sought to engage new, younger, audiences through the collaborative transformation of museums and exhibitions. Thematic topics explored include the forming and nature of interdisciplinary partnerships, the integration of museum learning into higher education, audience engagement, and digital technology. With a particular emphasis on practice in the US, the range of projects discussed includes those at both widely recognized and lesser known institutions, from The Met to the Tohono O’odham Nation Cultural Center in the US, to Ewha University Museum in South Korea, and Palazzo Strozzi in Italy. The role of art and the work of the artist are firmly positioned at the core of many of the relationships explored. Academics, Artists, and Museums advocates for the museum as an experimental ‘laboratory’ where academia, art and the museum profession can combine to engage new audiences. It is a useful resource for museum professionals, artists, scholars, and students interested in collaboration and innovative practice. Ch. 8. Megan Voeller, The Art of Attending Arts-Based Observation Training for Health Professions Students at the University of South Florida
Wasting Time? Art, Science and New Experience. Examining the Artwork, Knowmore (House of Commons)
oday the future is travelling rapidly towards us, shaped by all that which we have historically thrown into it. Much of what we have designed for our world over the ages, and much of what we continue to embrace in the pursuit of mainstream economic, cultural and social imperatives, embodies unacknowledged ‘time debts’. Every decision we make today has the potential to ‘give time to’, or take ‘time away’ from that future. This idea that ‘everything‘ inherently embodies ‘future time left’ is underlined by design futurist Tony Fry when he describes how we so often ‘waste’ or ‘take away’ ‘future time’. “In our endeavours to sustain ourselves in the short term we collectively act in destructive ways towards the very things we and all other beings fundamentally depend upon”
Western Sydney, and Sarah Kenderdine, the Director of Special Projects for the Museum
2008
Victoria, bring together 30 authors from the international cultural heritage community to provide a foundation from which to explore and to understand the evolving significance of digital media to cultural heritage. The editors offer the collection of essays as a reference work to be used by professionals, academics, and students working and researching in all fields of cultural heritage including museums, libraries, galleries, archives, and archeology. Further, they recommend the work as a primary or a secondary text for undergraduate and graduate education for these fields. The work succeeds on these counts owing to the range of cultural heritage topics covered and the depth of description on these topics. Additionally, this work would be of value to those individuals working and researching in the fields of human computer interaction and educational technology. The book is divided into three sections: Replicants/Object Morphologies; Knowledge Systems
How Can Visual Arts Help Doctors Develop Medical Insight?
International Journal of Art & Design Education, 2012
is the home of the National Collection of Modern Arts in the North of England and one of the largest galleries of modern and contemporary art in England outside of London. The rationale for this project was derived from the medical humanities position that art allows insight into the human condition; that 'the inclusion of a more humanistic approach to the training of healthcare staff could produce clinicians with a broader general approach, with resulting benefits to patients' (Geddes in Cowling 2004, 68); and that students can be helped to develop skills of observation, not only of physical representation but also of emotion and narrative. Previous research into the role of the arts within the medical humanities has claimed that it can enrich a variety of individual and group values, including emotional, social, psychological, cultural and educational values (Nuffield Trust 1998, 11). In order to be effective in translating ideas into practice, it has been suggested that there needs to be a cross-disciplinary approach which utilises both social and healthcare settings (Tilcock et al. 2005, 52). The project used the resources of the gallery and the experience of art educators to create a programme that explored the value of engaging with art, to enhance medical students' professionalism as future practitioners and as members of a healthcare team: 'challenging each other to form a cohesive idea about the art studied' whilst offering 'participants a creative model for linking feelings with reasoned observations and for testing, articulating, and arguing these perceptions' (Reilly et al. 2005, 252). As part of its Continuing Professional Development course portfolio, Tate Liverpool runs Opening Doors: the gallery as a resource for learning (Charnock & D'Silva 2003). Opening Doors is aimed at staff working in the social care and health professions and has attracted participants from a broad range of organisations in the health and social care fields.