NVAEC 2019

Papers

Terry Deen (Queensland Art Gallery and Gallery Of Modern Art)

Art as Exchange
Informed by 16 months of consultation, this paper aims to provide audiences with an insight into the status of visual art education in regional Queensland. The paper applies a lifelong learning lens to the topic of art education across four fields of practice including: arts learning, cultural learning, digital learning and well-being.

Cheung On Tam (Department of Cultural and Creative Arts, The Education University of Hong Kong)

Group Dialogue and Questioning Strategies for the Engagement of Students in Learning about Artworks
This presentation is about developing and reviewing strategies of engaging students in group dialogues with artworks. The key learning outcomes of the presentation will be (1) a dialogue and questioning framework to be used in school art lessons and museums and (2) an evaluation of the effectiveness of acquiring personal, social and cultural meanings of artworks through dialogues and questions.

Jessica McCarthy (Mosman High School, NSW)

Breaking the Syste(a)m
This presentation will discuss how we, as Visual Arts teachers, can lead the implementation of STEM to build twenty-first century skills including problem solving and creative thinking through a hands-on and real-world approach to projects. With a focus on how the Visual Arts can be a platform to teach complex STE(a)M concepts such as mechatronics, kinetic energy and 3D modelling.

Michelle Stockley (National Gallery of Victoria)

Artful Learning in the Gallery
This presentation, drawing from video-recordings and narratives, reports on research undertaken with gallery educators who specialise in engaging school groups with art. It examines how and why educators engage young people with art and what teachers can learn from this practice.

Josephine Corrigan (ACT Department of Education) and Gerry Corrigan (ANU Medical School)

Art as a Cerebral Activity: Learners’ Decision-making when Creating Art
This presentation describes an innovative approach to exploring how primary-aged students choose their pathways of learning when creating art. Several 5/6 students undertook an open-ended art activity. The decisions they made about what they did and why, were elicited, mapped and analysed. The results and possible implications for teaching are described and discussed.

Kathryn Hendy-Ekers (Victorian Curriculum & Assessment Authority)

Art Museums, Contemporary Art and Curriculum
Art museums are often highly contested spaces for formal learning for school students. This paper will present findings of a research project investigating teacher enactment of Secondary Visual Arts curriculum with exhibitions of contemporary art at three Australian art museums. The paper will cover the findings of the research involving interviews and observations with museum educators, teachers and students. An analysis of curriculum concepts of the Australian Curriculum and Secondary Visual Arts curriculum from a range of jurisdictions across the country are applied to the findings to develop a model that teachers and museum educators can use to provide learning experiences for Visual Arts students in contemporary art museums.

Margaret Baguley and Dr Martin Kerby (University of Southern Queensland)

Partners in Art and Art Education: Flying Arts Alliance and the University of Southern Queensland. Additional authors: A/P Janet McDonald, Prof. John O’Toole and Kerryanne Farrer
This presentation will explore the 20+ year partnership between Flying Arts Alliance (FAA) and University of Southern Queensland (USQ). This mutually beneficial collaboration has delivered visual arts projects, programs and services to regional and remote Queensland. The joint FAA/USQ research project Connecting Visual Arts with School Curriculum (funding/Tim Fairfax Family Foundation/John Villiers Trust) will be the focus of this presentation.

Gavin Rogers (Wolverhampton School of Art, UK)

The fine art studio: philosophy, love, politics, and aesthetics.
This paper focuses on how to create an inclusive studio space for students, teachers and most importantly their opinions. Taking inspiration from artist Thomas Hirschhorn, this presentation proposes a rethinking of the Fine Art studio to become a space where philosophy, love, politics and aesthetics collide as the central driving force of creativity. It negotiates the introverts with the extraverts and creates new ways of working.

 

Abbey MacDonald (University of Tasmania) and Jane Polley (Department of Education, Tasmania) 

Collaboration, Consultation and Co-design: Empowering Arts Teachers to Embrace and Enact the Australian Curriculum—The Arts: A Tasmanian perspective
Jane and Abbey will share contextual insights from a selection of Tasmanian collaborative Arts professional learning initiatives that have sought to empower Tasmanian Arts teachers. Contextual vignettes will offer insight into how Tasmanian Arts teachers embrace curriculum change as opportunity for growth, in complement with collaborative professional learning that duly acknowledges the complexity of curriculum development and its subsequent implementation.

Hayley Froggatt (Ajuga School, NSW)

Art Therapy in Education
Reflections on an art therapist’s experience of working in a school for special purpose with children who have experienced stress and complex trauma, using trauma-informed, strengths-based approaches to foster joy and creativity, resilience, and emotional and social intelligence.   

Esther McNaughton (The Suter Art Gallery te Aratoi o Whakatu)

Plaiting the Rope that Binds us Together: Learning in Art Galleries in New Zealand
This research into art gallery educator programmes for schools, demonstrates a specific value in how they perform community and society building at a grassroots level, through the processes and products of their students learning.

Robyn Carmody (Visual Arts Educators South Australia/Prince Alfred College)

Using student goal-setting and feedback to encourage independent learning
How do you encourage students in middle school to develop their self-belief in their abilities when they arrive with vast differences in experiences and skill? This project, given to year 7 and 8 students in 8-week blocks, explores how each student can improve their skills over time through practice and the setting of weekly progressive learning goals.

Tony Ameneiro (Independent artist)

The Making of 'Head Over Head' An Exhibition Based On A Research Drawing Project at a Sydney University Medical Museum
The presentation will look at the background, the process and the thinking behind my 2017 exhibition 'Head Over Head'. The idea evolved from an interest in simply drawing at two museums at the University of Sydney, but quickly grew into a project looking at ideas to do with mortality, regeneration and respect.

Robyn Gibson and Robyn Ewing (University of Sydney)

Another 4Cs: Curiosity, Compassion, Connection and Courage
This paper identifies another 4Cs—curiosity, compassion, connection and courage—that should be added to the existing twenty-first century skillset and how these ideas have contemporary relevance across the Arts disciplines.

Renee d’Argeavel (ACT Education Department)

Being Brave—Engaging Integrated Students
Engaging integrated students who have challenging behaviours in mainstream, integrated classes requires a teacher to be brave. Create opportunities for the use of play, exploration and student guided activities. Adopt a whole class approach to recognising strengths. How do you integrate? How do you engage? The key is bravery in teaching and bravery also in learning for the student.