Download Volume 41 no 1 as a single file

Paul Duncum
University of Illinois, Champaign Urbana
University of Tasmania, Launceston

Most middle childhood aged children who draw prolifically in their own time of their own accord, develop exceptional graphic skills and/or an elaborate narrative imagination. By contrast, the subject of this case study, an intelligent and otherwise able child, continued to draw prolifically throughout his middle childhood without the reward of either skill development or escape into realms of elaborate narrative fantasy. The paper attempts to address this unusual phenomenon by examining his learning strategies and the social inducements for drawing prolifically. Clear implications for art education are outlined.

Keywords

Comics, drawing, drawing development, prolific drawers, realism

pp 13-28

Kathryn Grushka
University of Newcastle, Australia

Miranda Lawry
University of Newcastle, Australia

Ari Chand
University of Newcastle, Australia

Susan Kerrigan
University of Newcastle, Australia

This article focuses on New South Wales (NSW) regional secondary teachers’ perceptions of Creative Industries as a higher education vocation pathway for students. The Creative Industries Roadshow sought to help students and teachers reimagine regional and remote career opportunities and study pathways into Creative Industries higher education. Creative Industries, a significant curriculum reform in Higher Education in 2011, shifted the focus from traditional fine art and design curriculum to creative practice as enterprise and the role of creatives in building the economy (Australian Government, 2011). The article draws on the empirical evidence gathered during the implementation of the Creative Industries Careers: Re-imagining Regional and Remote Students’ Opportunities roadshow for secondary students (Grushka, et al, 2018b). The Creative Industries Roadshow was funded by the Australian Department of Education, Higher Education Participation Partnerships Program (HEPPP). It was instituted in order to encourage students to consider Creative Industries university study pathways and the value of a creative digital technology skill to being work ready. This qualitative study reports on secondary school teachers’ attitudes to the increasing characterisation of creatives as entrepreneurs and the need to provide all students with appropriate soft skills. It draws on a teacher survey and teacher video interviews supported by the fieldnotes of the researchers. It identifies the challenges facing a regional university trying to maintain fine arts skills within a Creative Industries program and how secondary visual arts educators and regional communities identify with the elevation of the role of Creative Industries skills to meet future workforce needs.

Keywords

Creative industries, curriculum, teacher perceptions, visual education,
aesthetic digital literacies, work futures, higher education

pp 29-52

Rebecca Heaton
Nanyang Technological University, Singapore

Pamela Burnard
Cambridge University, United Kingdom

Afrodita Nikolova
Cambridge University, United Kingdom

Artography is a concept, practice, methodology and creative pedagogy that can be used across disciplines but has its roots in arts education. When used pedagogically, artography can performatively connect theory, practice and research for those engaging with it. Our research, a micro-artographic living inquiry conducted with cross disciplinary professional doctoral students, provides exemplification of these learning connections. We reconfigure artography as a creative pedagogy that utilises art education practices where the contribution of affects and acts emerge through engagement. Artographic engagement enabled the professional doctoral students we worked with to begin to see how art education practices could assist in interrogating and connecting theory, practice and research. As such art education practices began to gain value as components of artography in their ability to offer a range of creative pedagogies for teaching and learning whilst opening up alternative ways of considering and doing research that is relevant in changing and challenging times.

Keywords

Art education, Artography, creative pedagogy, doctoral
education, teaching and learning

pp 53-74

Pamela See
Griffith University, Australia

This article addresses the changes to the Visual Arts General Senior Syllabus for Queensland High Schools in 2019, which introduced a distinction between 2d, 3d and time-based media. It posits that the transition for students between 2d and 3d media can be explored using 3d printing. This was evidenced by a half-day workshop with year eleven students at Woodridge State High School in late 2019 that focussed on modelling. A short immersion into this new technology was facilitated by drawing on both the existing experience of the students and older technologies. Students used a variety of media ranging from clay, which has been used in modelling since its inception during the seventh century BCE, to its twentieth century iteration using computers. The approach was intended to mirror the development of the technology from Classical Antiquity (c. 800 BCE – 450 CE) to the Post-digital age (c.2000 - ).

Keywords

2d modelling, 3d modelling, Australian Curriculum, visual arts

pp 75-86

David N. Aspin
Paper presented at the A.I.A.E. Ninth National Conference, Darwin, 1989 – Originally published in Australian Art Education, 1989, 13(2), 19 – 27.

This paper examines conceptions of community and gives prominence to a model which is grounded in the need for diverse social interaction and the subsequent development of a multiplicity of communicative codes and cultures. Within the various realms of meaning which characterise communication modes, factors which distinguish the arts are discussed. As a set of noises, marks and signs the arts constitute a discernibly distinct language which, the author asserts reflects a particular cultural community. The latter section of the paper examines the relationship between a community that invests value in the arts and the aesthetic in relation to other community types, particularly those that institutionalise education and schooling. (Editor: noted in original publication)

Keywords

Aesthetics, arts, culture, ethics, schools

pp 87-102

Mervyn Moriarty
Independent Researcher, Australia

Prue Acton
Independent Researcher, Australia

The traditional colour wheel, which has its origins in the work of Sir Isaac Newton, is almost universally accepted by the art world. However, advances in technology have necessitated a new approach. This article explores an innovative colour wheel developed by Australian artist Mervyn Moriarty, who has had a lifelong passion for colour. The Moriarty Three-Section Colour Wheel combines the primaries of pigment and the primaries of light into one system. Hues are positioned on the wheel opposite their complementary, missing black in pigment and white in light. For the first time, pathways map the relationship between hues, and how to mix and harmonise colour. The theory underpinning the colour wheel provides important new insights into the understanding of colour, which can be applied to a range of creative disciplines.

Keywords

Colour, colour wheel, Mervyn Moriarty

pp 103-121