Disability Arts History Australia

Items

• "Australia Government (2019) My Art Goals: NDIS and the Arts. Canberra: Department of Communication and Arts."
  Reads, in part "My art goals shows some of the ways National Disability Insurance Scheme (NDIS) participants who have creative or cultural jobs, or who want to participate recreationally in the arts, can reach their goals. My art goals provides information about how the NDIS might support participants with arts goals, or about what supports or services might be available outside the NDIS."
• "Access2Arts - You Tube - Access2Arts Video UNCRPD Article #19 Living independently and being included in the community "
  Access2Arts Article #19 Living independently and being included in the community - https://www.youtube.com/watch?v=uoqeaDFEjlE
• "Access2Arts - You Tube - Access2Arts Video UNCRPD Article #27 Work and employment"
  Access2Arts - You Tube - Access2Arts video on United Nations Convention on the Rights of People with Disabilities Article #27 Work and employment - reads, in part "Article #27 of the United Nations Convention of the Rights of People with Disabilities that deals withWork and employment, told by Deaf and disabled people. An Access2Arts Production made possible with support from the City of Adelaide."
• "Access2Arts - You Tube - Access2Arts Video UNCRPD Article #30 Participation in cultural life, recreation, leisure and sport"
  Access2Arts - You Tube - Access2Arts video on United Nations Convention on the Rights of People with Disabilities Article #30 Participation in cultural life, recreation, leisure and sport - reads, in part "Article #30 of the United Nations Convention of the Rights of People with Disabilities that deals with Participation in cultural life, recreation, leisure and sport, told by Deaf and disabled people. An Access2Arts Production made possible with support from the City of Adelaide."
• "Access2Arts - You Tube - Access2Arts Video UNCRPD Article #5 Equality and non discrimination"
  Access2Arts - You Tube - Access2Arts video on United Nations Convention on the Rights of People with Disabilities Article #5 Equality and non discrimination - reads, in part "Article #5 of the United Nations Convention of the Rights of People with Disabilities that deals with Equity and non-discrimination, told by Deaf and disabled people. An Access2Arts Production made possible with support from the City of Adelaide.
• “Choose Art, the Australian accessible arts directory, is launched”
  The Australian accessible arts directory Choose Art was launched in 2019. It is an initiative of Arts Access Victoria, designed for and by Deaf and disabled people. Choose Art is a Commonwealth project supported by the Cultural Ministers of each State and Territory through Arts ACT; Arts Tasmania; Create NSW; Creative Victoria; Culture and Arts WA; Arts South Australia; Arts Queensland; Department of Tourism and Culture, NT and the Federal Minister through the Department of Communications and the Arts. Arts Access Victoria has created Choose Art in partnership with Arts Access Australia, Access2Arts, Access Arts, Accessible Arts, Arts Access Darwin, Belconnen Arts Centre, DADAA and Incite Arts.
• "Anthony White (2021). Anthony Mannix's mixed realities. Art Monthly Australasia, (327), pp. 80-87."
  The Australian artist Anthony Mannix has produced a large body of work, mostly in the form of artist books. His art has featured in dozens of exhibitions; has been the subject of catalogues, journal articles and a PhD thesis; and has entered national and international collections. One of his most recent works, the dazzling, vibrantly decorated 2020 cover of I Am Cut Viciously, features a harrowing self-portrait of the artist. The work depicts Mannix with injuries he sustained while in 'a psychotic state' during a period in 1986 when he was homeless and living in the Royal National Park, New South Wales. As an artist with experience of complex mental health issues, or what he prefers to describe as 'mixed realities', Mannix has often been categorised as an 'outsider' artist.
• “Arts Access Arts Access Art Day Number 1 1994”
  Arts Access Arts Access Art Day Number 1, 1995 – Description of Arts Access programs for people with intellectual disabilities, Description of the Artistic Program, the Resource and training unit and the EASE program, Art Beat - Performance Art Options for People with Intellectual Disabilities – workshops, Big Bag rock band and Back to Back theatre company - Barbara Doherty, Carol Downey, Claire Teisen, David (no last name listed), Dean Michael, John Tonso, Kerrie (no last name listed), Lyndsay Mason, Maria (no last name listed), Sonia Teuben
• "Arts Project Australia - Pop Up Art Fair Email Promotional Flyer 13 March 2016"
  Arts Project Australia - Pop Up Art Fair Email Promotional Flyer 13 March 2016 - reads, in part "Melbourne Art Fair 2016 has been cancelled but we've decided to hold our own Arts Project Australia 'Pop Up" Art Fair!"
• "Arts Project Australia - Contemporary Outsider Art Conference 2014 Program"
  Arts Project Australia - Contemporary Outsider Art Conference 2014 Program
• "Arts Project Australia - The Art Of Living Exhibition 2018 - Promotional Card"
  Arts Project Australia - The Art Of Living Exhibition 2018 - Promotional Card - reads, in part "The Art of Living marks Arts Project Australia's inaugural 'Artist as Curator' program."
• "Arts Project Australia - The Art Of Living Exhibition 2018 - Promotional Flyer"
  Arts Project Australia - The Art Of Living Exhibition 2018 - Promotional Flyer - reads, in part "The Art of Living marks Arts Project Australia's inaugural 'Artist as Curator' program."
• Tutti Arts
• Tutti Ensemble
• Sarah Boulton
• "Interview with Paul Constable Calcott"
  Uncle Paul Constable Calcott is a proud Wiradjuri man and artist living with a disability on Gubbi Gubbi country….. Uncle Paul uses his art to share stories of his journey as an aboriginal gay man living with a disability in urban Australia. Interview Summary Uncle Paul Calcott is a proud Wiradjuri elder and disability advocate who contracted polio as a child. During the interview, Uncle Paul discusses becoming an artist later in life through the encouragement of his husband and influenced by the storytelling of his culture. He embraces his identity as an Aboriginal, gay man living with disability. He talks about his artwork aiming to celebrate the achievements and contributions of people with disabilities, using traditional symbols to tell new stories, particularly about disability within Indigenous communities. Although there has been increased visibility and acknowledgment of disability arts in Australia, Paul notes that there's still a long way to go in terms of policy, funding, and public recognition. Uncle Paul says art can reflect political and social issues, and he proudly identifies as an artist with a disability and believes in the significance of diverse stories being told through the arts.
• Amanda Cachia
• "DADAA Art Works Key Findings: Employment in the Arts for People with Disability – Current Status, Barriers and Opportunities (2012)"
  Reads, in part, "This document provides a short overview of the full Art Works report, which captures the results from national research into employment levels, barriers and strategies around employment in the arts for people with disability. The report was produced in response to one of the key focus areas of the National Arts and Disability Strategy, released in 2009."
• "Janice Rieger, Jasmien Herssens, Megan Strickfaden, Marianella Chamorro-Koc, Bree Hadley (2019) Vis-ability Exhibition."
  "The United Nations Convention on the Rights of Persons with Disabilities (UNCRPD, 2016) foregrounds the importance of cultural participation to realise human rights for people with disabilities. The creative industries play a critical role in supporting and shaping these social attitudes towards inclusion. Through the theoretical foundation of Design for All (EIDD Stockholm Declaration, 2004) new engagement processes involving a transdisciplinary team from Australia and around the world converged at QUT to co-design more equitable and collaborative forms of knowledge and practice around inclusion. International universities, the EU Commission and the European Institute for Design & Disability collaborated and presented Design for All for the first time in Australia, positioning QUT leadership in this field and as the first non-European member of EIDD-DfA. Co-design methods were employed through, Vis-ability workshops, Making Visible workshops, tactile artefacts and audio description work in the VisAbility Exhibition. Innovative practice was through the Inclusive Film Screening and Wondrous Googles technologies. An innovative model of engagement was created through the DfA Week program and events across sectors. Knowledge was disseminated through academic articles."
• "Janice Rieger and Megan Strickfaden(2019) “Dis/ordered assemblages of disability in museums.” In The Routledge Handbook of Disability Art, Culture, and Media, edited by Bree Hadley and Donna McDonald, 48–61. London & New York: Routledge."
  "Museums are spaces of power and care. They are institutions that present assemblages (Deleuze & Guattari 2002), which are reconstructions and representations of history and societal values, and thus are partial realities that curate human existence. These assemblages cannot ever represent the totality of human existence because it is never possible to do so, and yet these assemblages are embedded with power because choices are made about what ought or ought not be represented within museums (Ott 2013; Bennet 2017). The nature of partial realities is that, at their centre, these are still representations that tell stories of what one would imagine to be the most significant events related to a place (nation, city), with a particular focus on a societal event or issue (war, art, sports, nature, human rights, etc.) and peoples (e.g. immigrants, migrants, First Nations or Indigenous peoples, etc.). Persons attending museums rely on the expertise of historians, curators, archivists, conservators, and exhibition designers to present materials within the museum that focus upon and represent societal values. Most museum visitors are not aware of the power that museums hold, although more and more museum visitors push against narratives which they do not feel to be adequate representations of the places, events, issues, and peoples of society (Hooper-Greenhill 1992, 2000; Anderson 2004; Janes 2009, 2010). Where there is power, there is also care. Historians, curators, archivists, conservators, and exhibition designers take great care in how they assemble materials within museums."
• "David Throsby, Katya Petetskaya (2017) Making Art Work: An Economic Study of Professional Artists in Australia, Australia Council for the Arts, 2017."
  Reads, in part "Making Art Work: An Economic Study of Professional Artists in Australia by David Throsby and Katya Petetskaya is the sixth in a series carried out independently over thirty years by Professor Throsby at Macquarie University, with funding from the Australia Council. The series tracks trends in the lives and working conditions of Australian artists over 30 years and identifies challenges and opportunities for artists’ careers into the future."
• "NuunaRon - Two Spirit Yarning by Paul Constable Calcott"
  First Peoples Disability Network NuunaRon Art Group - 'Two Spirit Yarning' by Paul Constable Calcott
• "Sarah Austin, Kath Duncan, Gerard Goggin, Lachlan MacDowall, Veronica Pardo, Eddie Paterson, Jax Jacki Brown, Morwenna Collett, Fiona Cook, Bree Hadley, Jess Kapuscinski-Evans, Donna McDonald, Julie McNamara, Gayle Mellis, Kate Sulan (2019). The last avant garde? In B. Hadley, D. McDonald ed. The Routledge Handbook of Disability Art, Culture, and Media. London & New York: Routledge, 251-262."
  "“The Australian Research Council project Disability and the Performing Arts in Australia: Beyond the Social Model – known to collaborators as the last avant garde – is mapping disability performing arts in Australia. We open up this chapter, and our ongoing research project, with the words of the late Tobin Siebers. In researching disability and performance here in Australia, we also acknowledge that since Siebers’ 2010 text, we have seen new experiments and emerging companies pushing the bounds of how bodies feel – in a sector which embraces differences in bodies, but also in thinking, in neurodiversities, in being, in articulating, in appearing, in sensing, in intersectionalities, and in the experiences for audiences. As such, this chapter aims to explore ‘disability aesthetics’ not as a set of specific techniques, themes, or politics, but in order to position disability at the centre of ‘future conceptions of what art is’ and what it can be.”
• “Arts Access Victoria - Arts Access Society Inc. - Access Newsletter September 1990”
  Arts Access Arts Access Society Access Newsletter September 1990 – Integrated Dance Project, Participant's Report, Artists in prison report, Special Accommodation Houses Art report, art exhibitions for Mental Health Awareness Week - Inside Art-Outer Images of Inner V isions, Austin Hospital Up-date, exhibitions - "Occhio dell' Artista", "6 Women", ''.Art/Craft Works”, resource centre update, Anti-Cancer Council poster project, Senior Citizens Week 1991 Encouragement Grants, Salamanca National Script Centre distributes unpublished and published playscripts, membership
• "Arts Access Victoria - Gallery, captured 2022"
  Arts Access Victoria - Gallery - Information about exhibitions, including Art Day Smackdown, Art Day South: 30 Years, Front Up by Adam Knapper, Katina Anapaikos solo exhibition, Queer Voices @ Nebula, Spill, Ether, Ether 2021