NiTRO - Non Traditional Research Outcomes - is the dedicated space for views and news in the tertiary creative arts community.
NiTRO Edition 3 - Academia and Artistic Practice
In this edition of NiTRO we focus upon how academia connects, supports and influences artistic practice outside the university walls, and particularly how it prepares its existing and emerging artists for careers in their chosen profession.
Why is it an imperative for arts institutions and academies to identify creative teaching in relation to creative learning as a vital way of addressing the politics of higher education? What is it about creative teaching in relation to creative learning that offers new priorities, new narratives, new forms of knowledge, new ways of ‘knowing how to speak’ and ‘knowing how to hear’ for creative teachers, artists and artist scholars? . .
Creative and performing arts disciplines are at an interesting juncture. After decades of concern about lack of funding, and about being sidelined in favour of the STEM disciplines, there may be some positive signals. The question is whether these disciplines are ready for the opportunities emerging from these signals. . .
Sitting on my shelf for the last eighteen years has been a copy of “The Strand Report”. Dennis Strand’s excellent work was for a project overseen by the Head of the Canberra School of Art, David Williams, and chaired by Peter Karmel, a leading economist and former vice-chancellor of the ANU. It was the first coordinated attempt to bring together the full range of visual and performing artists to address how they might better fit in with the developing research expectations of the National Unified System. . .
Earlier this year ArtsHub, published an article by National Association for the Visual Arts (NAVA) CEO Tamara Winikoff on the changes in art schools following the Dawkins amalgamations. It collated views and experiences of those currently working in the university sector and provides a useful starting point to consider how contemporary universities are influencing artistic practice. With the permission of NAVA and Arts Hub the article is republished below and has been updated by Tamara for NiTRO. . .
As Bourdieu describes in his text ‘Firing Back’, the modern world has moved into a work situation dominated by employment precariousness, constant insecurity and downsizing to increase profits and therefore shareholder return. While artists have in general faced employment stresses for centuries, the impact of the broader economic move towards dominant players and markets is affecting the art world as well. . .
The current trend in Australian universities has seen the proportion of enrolments in Arts subjects declining over the last decade, with regional universities and campuses more significantly affected. According to the 2015 Mapping the Humanities, Arts and Social Sciences in Australia report “entry scores are dropping and numbers declining in HASS programmes in regional universities.”. .
What I think is a major stumbling block for the creative arts is they are often perceived as a siloed area of knowledge, which is only facilitated by established economies and spaces. This inevitably leads to a misunderstanding of the impact that creative arts and design have on bigger discussions related to innovation and STEM. . .
The second Australia Percussion Gathering, directed by Associate Professor Vanessa Tomlinson alongside advisors Tom O’Kelly, Dr. Louise Devenish and Francois Combemorel was held at Queensland Conservatorium, Griffith University in July 2016. Sitting somewhere between a music festival, a conference and a music camp, the six day event brought together industry professionals, international guests, and an impressive 96% of all students studying percussion in tertiary institutions in Australia. . .
The status of the Avant grade has now been systematized into what Dave Hickey calls the ‘therapeutic institution’ – a self-propagating structure of academics, curators, critics and artists proclaiming arts goodness for the world. . .
The relationship between academia and artistic practice is in flux, and in my view that’s one of the reasons why the space in which they meet is an exciting place to be working. I undertook two postgraduate degrees in music both of which had an emphasis on practice-based approaches. . .
On the eve of his 25th anniversary of his emigration to Australia, Jenny Wilson talks to artist and ECU Dean Clive Barstow about his reflections on arts education. . . . After a sustained period of coming to grips with the changing Australian tertiary education environment, he reflects upon how his own history and experiences have shaped his perceptions and approach to educational leadership. . .
The Symposium at the FHNW Academy of Art and Design in Basel – introduced by Carla Delfos from the European League of the Institutes of the Arts – brought together methodological reflections on research in the arts with recent activities from researchers in the field. It was goal of the Symposium to discuss how art and design generates knowledge that is of relevance to society. . .