Poetry

Flyer for a poetry reading at the Boathouse. Poets included: Judi Benson, Harold Morgan, Bill Slaughter, and Larry Spisak.https://digitalcommons.unf.edu/performances_print/1018/thumbnail.jp

Horror Classics

Poster promoting four horror movies shown in the Auditorium, Building 9, University of North Florida. October 10 - Nosferatu & Horror of Dracula , October 26 - Mask of the Red Death , November 7 - The Haunting , and December 5 - The Fearless Vampire Killers Poster dimensions: 35.6 cm x 55.8 cmhttps://digitalcommons.unf.edu/performances_print/1015/thumbnail.jp

An Evening With Salome

Program for AN EVENING WITH SALOME, conceived and written by Richard Bizot, UNF Auditorium.https://digitalcommons.unf.edu/performances_print/1021/thumbnail.jp

International arts activity – Australian arts sector

Overview The International Arts Activity – Australian Arts Sector report highlights the value of a strategic approach to international arts development and explores the existing activity and future priorities of the sector.  The report was part of a significant body of research and analysis undertaken over the past year to provide a comprehensive overview of Australian international arts activity and identify high value international opportunities for Australian artists. International development activity includes international presentation, residencies, collaborations and exchanges, networking, participation in festivals, fairs or showcasing platforms, translations and co-productions, all of which provide both short and long-term benefits to the artists involved and enrich our nation’s arts and cultural life. The research involved an analysis of funding trends, interviews and focus groups with funding recipients, and a sector-wide survey to identify motivations, needs, challenges and future priorities.  The Council has invested around $11 million each year in international arts activity since 2010-11, and in addition regularly funds many arts organisations that work internationally. This strategic support has enabled artistic, market and audience development, as well as providing significant value to Australia’s cultural diplomacy agenda.  Australia Council support has increased mobility and participation of Australian artists in international projects and facilitated vital new networks and connections. Among the many benefits are an increased international profile for innovative Australian arts and the increased integration of international best practice into Australian arts infrastructure.  The research findings indicate that many artists and organisations believe that without Australia Council support they would have been unable to undertake international activity

Arts nation: an overview of Australian arts - 2015 edition

This paper provides evidence as a catalyst for informed discussion about arts and culture in Australia. Executive summary Australians value the arts. A growing number of Australians believe that the arts make for a richer and more meaningful life; they influence how we express ourselves, our creative thinking and new ideas. Understanding the scope and impact of the arts in an Australian context is complex. This first Arts Nation report provides a starting point for that exploration at a national level, and will continue to develop over time. New analysis using the internationally recognised wellbeing valuation approach is one way of calculating the value of intangibles. It suggests that people who engage with the arts have higher life satisfaction. This is a significant finding given the level of engagement by Australians with the arts. Nearly all Australians consume at least one form of art and half participate in arts creation each year. Geographic location does not impact on arts engagement as much as you might expect and creative participation has increased amongst some groups with historically lower levels of participation. The 44,000 practicing professional artists in Australia predominantly have portfolio careers, with just 17% working full-time on their creative practice. The arts are deeply embedded in the cultural sector, and cultural activity makes a substantial contribution to the Australian economy. Cultural activity contributes $50 billion to Australia’s GDP, comparable to the GDP share in the USA, including over$4.2 billion from the arts. Expenditure on culture by Australian governments in 2012–13 was $7 billion including over$1.3 billion on the arts. Important to note is that the main source of income to the arts is consumer spending, for example, ticket sales for performing arts events generated $1.5 billion in 2013. Private support for the arts continues to grow, most significantly from private donations. Arts organisations are experiencing rapid growth with the major performing arts companies seeing an 81% increase between 2009 and 2013. Crowdfunding is a small but growing area for Australian artists to raise smaller amounts with a higher than average success rate. Exploring the way international tourists spend their time in Australia has highlighted the growth in arts tourism. There has been 19% growth over the past four years, with 2.4 million international visitors to Australia in 2013–14 engaging in arts tourism. More than one in four international tourists visit galleries or museums, similar to the levels in the UK and USA. Aboriginal and Torres Strait Islander arts are cherished both at home and abroad. Nine in ten Australians agree that Indigenous arts are an important part of Australian culture and audiences for Indigenous arts are growing. Aboriginal and Torres Strait Islander artists are proportionally more likely to be nominated for a major Australian art award or participate in an international arts event. The Indigenous visual arts sector is a major contributor to the arts economy and responsible for some of Australia’s most valuable works of art. This snapshot in time affirms the significance of the arts in the lives of Australians, as well as our international profile. Central to this is our unique position as home to the world’s oldest continuous living culture

Matthew Murray's Evaluation of Arts Council of England Creative Development Award

Murray was successful in gaining funding from Arts Council England which allowed him to 1. I attended a number of professional development activities - Photogravure Master class at the Centre for Fine Print Research Bristol, Lith, Cyanotype, alternative processing, workshop at The Centre for Art and Photography, photo etching and screen printing workshops These alternative process workshops have ensured a greater understanding of historical & alternative techniques. The chemistry, materials, handling of the techniques that are capable of realizing unique qualities of tone, texture, definition & presence. 2. Experiment with new collaborators, explore, investigate, research and understand a new methodology and inform and develop a new visual language. I was able to explore landscape through textural & tonal characteristics of early photography processes, referencing early 20th century paintings made at Arenig, Fawr, Wales and especially the work of J.D. Innes and Augustus John. 3. I was able to develop a dialogue and build new networks with prominent artists, curators, gallery directors and master printers in the UK & internationally including Roger Watson, Curator Fox Talbot Museum, Lacock Abbey, artist Richard Billingham, Nicola Shipley, Director of GRAIN Projects, Will Troughton Curator of Photography, National Library Wales and David Drake, Director Ffotogallery, Wales & Diffusion Festival, Hans Rooseboom Curator of Photography, Rijksmuseum, Maartje van den Heuvel, Curator of photography, Special Collections, Leiden Institute, Martin Barnes Senior Curator of Photographs at The V&A Museum, London, Addie Elliott, Director at ElliottHalls Gallery, Amsterdam. 4. The extended period of creative development for me as an artist and my practice was vital. I was able to free up valuable time from my academic & commercial projects. This gave me the opportunity to challenge my present methodology and introduce new working practices that were informed through research engagement with other practitioners, curators, writers and historians

DASSH response to the Department of Education and Training’s consultation paper

DASSH endorses the emphasis on simplifying systems and reporting requirements, incentivising engagement with end-users, and recognising that Australia has a mature university system in which individual higher education institutions should determine the best use of their research funding (with appropriate reporting requirements). We also applaud the proposal to double weight HDR completions by Indigenous students within the RTP allocation formula

It would be a Pleasure : Augmented Reality and Engagement in a Heritage Context

The interchangeability, confusion and conflict of what constitutes audience engagement has a long history, with much disagreement concerning boundaries and definitions. Dewey states that it is a mistake to see the artist as active and the audience as purely passive, and argues that “the active engagement of the audience is required to fully realise any work” (Dewey 1934). This predates the notions of “interactive” or “participatory” as understood today, but highlights the longstanding appreciation of the role the audience plays in the consumption of artworks. A sentiment echoed by Duchamp (1957) stating that “the spectator adds his contribution to the creative act”. The research project presented at EVA 2017 seeks to offer a model for engagement, that of pleasure, which explores methods to motivate active participation

Heritage and Stigma. Co-producing and communicating the histories of mental health and learning disability

University engagement with mental health services has traditionally been informed by the vocational and pedagogical links between the two sectors. However, a growth in the interest in public history and in the history of mental healthcare has offered new opportunities for those in the humanities to engage new audiences and to challenge perceptions about care in the past. The introduction of the ‘impact agenda’ and related funding streams has further encouraged academics to contribute to historical debates, and to those concerning current services. One such example of this is the Arts and Humanities Research Council funded Heritage and Stigma project at the University of Huddersfield, which was conceived to support mental health and learning disability charities in the exploration and dissemination of their own histories. Using this project as a case study, this paper will draw on primary source material to reflect on the opportunities and challenges of working in partnership with such groups. In particular, it will consider the need to address issues of stigma and exclusion in tandem with a critical understanding of the moves to ‘community care’ instigated by landmark legislation in the form of the 1959 Mental Health Act. Overall, it provides evidence of an inclusive, coproductive model of design and highlights the positive contribution to communicating mental health made by those based in the humanities