30,983 research outputs found
Veiled
No full textCatalogue of an exhibition held at The Gallery Bayside Arts & Cultural Centre, 11 January - 26 February 2012.
Essay by Bryony Nainby
Building audiences: Aboriginal and Torres Strait Islander arts
Full text linkBuilding Audiences examines the barriers to and the strategies for increasing audiences in the Aboriginal and Torres Strait Islander arts sector. This research investigates the attitudes, beliefs and behaviours of current and potential audiences.
What is in the report?
The findings reveal the key barriers facing audience attendance include:
uncertainty about how to behave at cultural events and fear of offending
lack of awareness with audiences not actively seeking information about Indigenous arts
and outdated perceptions of the sector – that it is only perceived as ‘serious or educational’.
Building Audiences also considered several strategies to build audiences for Indigenous arts:
providing skills development, advice and resourcing to Indigenous practitioners within the arts sector;
increasing representation of Indigenous artists in the main programing of arts companies by including more Indigenous people in decision making roles;
promoting relationships between Indigenous arts and non-Indigenous companies to present their work to wider audiences;
introducing children and young people to Indigenous arts through schools and extracurricular activities;
allowing audiences to feel comfortable engaging by creating accessible experiences;
implementing long-term strategies to change negative perceptions of Indigenous arts.
The project was commissioned by the Australia Council for the Arts and funding partners include Australia Council for the Arts; Faculty of Business and Law and Institute of Koorie Education, Deakin University; Melbourne Business School, The University of Melbourne
The construction of Karen Karnak: The multi-author-function
No full textThis thesis is situated within the comparatively recent developments of Web 2.0 and the emergence of interactive WikiMedia, and explores the mode of authorship within a Read/Write culture compared to that of a Read/Only tradition. The hypothesis of this study is that the role of the audience has become merged with the author, and as such, represents new functions and attributes, distinct from a more conventional concept of authorship, in which the roles of audience and author are more separate. Read/Write and participatory culture, as defined by this study, is focused on collaboration, and includes the influences of D.I.Y. culture, Open-Source practices and the production of text by multiple authors. Multi-authorship presents a re-thinking of several concepts which support the notion of the individual author, since the focus of multi-authorship is not on attribution and ownership of a finished text, but on the continued malleability of a text. Modes of multi-authorship, demonstrated in the use of the pseudonyms Alan Smithee and Karen Eliot, represent declarative authors whose names signify multiple origins, whilst concurrently indicating a distinct body of work. The function of these names form an important context to this study, since primary research involves the construction of an experimental mode of multi-authorship utilising WikiMedia technology and the interaction of thirty nine participants, who are invited to create a body of work under the collective pseudonym Karen Karnak. The data generated by this experiment is analysed using aspects of Michel Foucault's author-function to identify and determine power structures inherent in the WikiMedia context. The interplay of power structures, including concepts such as identity, ownership and the body of work, affect the resulting mode of authorship and contribute to the construction of Karen Karnak, suggesting further areas of research into the emerging multi-author
Arts Incubators: A Typology
Full text linkabstract: Recent policy initiatives evidence a vigorous interest in arts-based community development. Arts incubators are one means for such development, as well as a means for supporting artists and arts organizations. Literature suggests wide variance across arts incubator objectives: some aim “to produce successful firms that will leave the program financially viable and freestanding,” while others pursue such diverse goals as supporting individual professional development, providing gallery space, or advocating for social change. There is also a diversity of organizational forms, governance structures, and funding models. This article offers a typology of arts incubators based on organizational objectives through the lens of stakeholder theory.This is an Author's Accepted Manuscript of an article published as Essig, Linda (2014). Arts Incubators: A Typology. JOURNAL OF ARTS MANAGEMENT LAW AND SOCIETY, 44(3), 169-180. http://dx.doi.org/10.1080/10632921.2014.936076. Copyright Taylor & Francis, available online at: http://www.tandfonline.com/doi/abs/10.1080/10632921.2014.93607
Public Support of the Arts in Michigan
Full text linkWith the loss in jobs and economic stress in Michigan, arts organizations have seen dramatic decline in corporate and individual support. The Michigan legislature in 2004 was faced with a deficit of over $925 million (Bartik and Erickcek, 2005). All areas of the government have been cut including state funding for arts and cultural institutions through the Michigan Council for Arts and Cultural Affairs (MCACA). While attendance is still strong, performing arts institutions have seen significant shifts since 2001 from subscription packages to single ticket sales, indicating limited resources for many people. Today, MCACA is the smallest it has ever been since its inception in 1991. Its budget is less than half of its budget in 2003, and support to its arts organizations has consequently been cut in half as well. Because of the creation of MCACA as a state granting agency, most arts and cultural organizations in Michigan do not receive support from local municipalities. The future of MCACA is currently under great threat and if it were to disappear, financially strapped local municipalities would find it difficult to provide funding for the arts. As Michigan shifts from an economy dependent on manufacturing to one focused on entrepreneurial high-tech industries, communities must find ways to attract and retain the best talent to this region. The quality of arts and cultural offerings will be a significant driver for people to make a life decision to move to and stay in Michigan. For this reason, public support for the arts must continue. How can the funding continue and what can be done to secure its future? These are the questions to be explored in this paper
Creative enterprise in west Yorkshire Arts organisations
No full textThis report describes and theorises the findings of a workshop discussion, commissioned by WYLLN, into the views of arts organizations on the challenges they face in becoming more enterprising and less grant dependent
Spear-carriers or speaking parts?: arts practitioners in the cultural policy process
Full text linkThis thesis investigates the role of arts practitioners in cultural policy activity, both as a general concern for cultural policy studies and in the specific arena of post-war cultural policy in Britain. In so doing it challenges a common perception that arts practitioners have no such involvement, and seeks to discover the extent and form of their activity. it explores the history of practitioners’ participation in cultural policy formation and implementation; what obstacles they have faced and how their involvement could be better facilitated; and, importantly, why it matters whether they are involved. These issues have remained largely unrecognised among cultural policy researchers.
Part II of the thesis examines the subject through a case study of new playwriting policy in England. Drawing on unpublished primary documents, interviews, and observation, it pays particular attention to playwrights’ organisations and their history of self-directed activity. These organisations and other agencies concerned with theatre writing are embedded in networks which cross the boundaries of policy and creative practice. The thesis argues that arts practitioners can enhance their place in the policy process through their own actions, and that participation in these networks increases their opportunity for policy input and influence.
Of key importance is the question as to why the involvement of practitioners in cultural policy activity is of any significance. The thesis puts forward the view that arts practitioners and their organisations can be seen as part of the fabric of civil society, and their participation in policy activity as contributing to the maintenance and enlargement of democratic life. It is, then, not a marginal issue, nor of concern to the arts alone, but integral to a wider debate about sustaining democratic engagement and the civic arena in the twenty-first century
Arts-based methods for facilitating meta-level learning in management education: Making and expressing refined perceptual distinctions
Full text linkArts-based methods are increasingly used to facilitate meta-level learning in management education. Such increased use suggests that these methods are relevant and offer a unique contribution meeting a need in today’s management education. Yet, the literature is not clear on what this unique contribution may be even though it abounds with suggestions of varying quality. To explore this matter, I conduct a systematic literature review focused on arts-based methods, management education, and meta-level learning. I find that the unique contribution of arts-based methods is to foreground the process of making and expressing more refined perceptual distinctions, not to get accurate data, but as integral to our thinking/learning. This finding is important, because it imply that certain (commonly applied) ways of using arts-based methods may limit their potential. Finally, I suggest that future research regarding arts-based methods should focus on exploring the impact the process of learning to make and express more refined perceptual distinctions may have on managerial practice to further understand the relevance of these methods to managers
In every grain of sand there is a world : an exhibition by Angie Seah
No full textExhibition catalogue : 08 October - 17 October 2014, Victoria College of the Arts, Melbourne, Australia.
Essay: Kyla McFarlane.
"This Asialinks Arts Residency Project is a collaboration between Asialink, the Art Incubator and Victorian College of the Arts and is supported by Arts Victoria.
Institutional Repositories for Creative and Applied Arts Research: The Kultur Project
Full text linkDigital repositories are playing an increasingly significant role within Higher Education Institutions as a means of managing and promoting research activity. However, there remain substantial disciplinary differences in take up, and the research activity of the visual and applied arts community is notably under-represented. There are both technical and cultural reasons for this absence. Perhaps most obviously, institutional repositories have traditionally been tailored towards text-based outputs, and so have been less proficient at accommodating the more complex multimedia outputs associated with practice-led research. In addition, the specific working practices of arts researchers and their mediation between academic and professional art worlds tends to influence IPR needs and attitudes towards Open Access. Such factors all need to be engaged with in order to develop an effective model of an arts repository that is useful to this sector.
This article will outline the work done by the JISC-funded Kultur project to address these needs. Kultur is a collaboration between the University of Southampton, the University of the Arts London, University for the Creative Arts and VADS, and has been funded as part of JISC’s 2007-2009 Repositories and Preservation Programme. In establishing two new IRs for UAL and UCA, and enhancing Southampton’s existing repository, the project has produced a transferable model of a multimedia repository for arts-based research outputs. The project approach has been strongly user-driven, and the article summarises how enhancements to eprints software have been shaped by the findings of an extensive user analysis. This comprised an online survey of target users, one-to-one follow-up interviews with researchers, and usability tests of the Kultur demonstrator repository. On the policy side, the article also describes the processes of developing an appropriate metadata schema, IPR policy, and institutional policies for embedding the repository. Finally, the article will consider future development, and the scope for building on the findings of the Kultur project for the benefit of the wider arts community
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