Disability Arts History Australia

Items

• "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
• "Arts Project Australia - Working Art Exhibition 1994 - Promotional Flyer"
  Arts Project Australia - Working Art Exhibition 1994 - Promotional Flyer - reads, in part "Arts Project Australa is pleased to inivte you to working art the official launch - of the supported employment program"
• "Tutti Arts - Maquarie Private Wealth Art Exhibition - Catalogue [Large Format]"
  Tutti Arts - Macquarie Private Wealth Art Exhibition - Catalogue
• "Tutti Arts - Maquarie Private Wealth Art Exhibition - Catalogue"
  Tutti Arts 'Maquarie Private Wealth Art Exhibition' 2014 Catalogue
• "Interview with Patricia Wozniak"
  Patricia Wozniak is a neurodivergent visual arts coordinator at Tutti Arts and is a disability arts advocate and ally. Interview Summary Patricia Wozniak, a visual arts coordinator at Tutti Arts with 14-15 years of experience, initially volunteered while studying for her master's and found joy and liberation in making art with the organisation. Tutti Arts has grown from offering two days to five days of visual arts each week and supports artists to enjoy creating, access quality materials, and earn income. While faced with challenges like NDIS funding intricacies and the need for easy-to-understand contracts, Patricia emphasizes the importance of artist-driven practice and equal opportunities. She observes a shift toward digital art and commercial endeavours among artists and asserts the vitality of educating artists about their rights and the political aspect of disability art in cultivating change and expression of identity.
• Megan Strickfaden
• "Interview with Daniel Savage"
  Daniel Savage is an artist and disability advocate working in mediums of photography, video and performance. Interview Summary: Daniel discussed his background as a disabled contemporary artist primarily focused on photography, with additional interests in video and performance. Daniel detailed the journey through his artistic career, highlighting significant experiences such as art school education, early influences, and the impact of acquiring a disability. He also explored the evolution of his style and interests, particularly his shift towards digital technology and his involvement in advocacy for accessibility in the arts. Daniel also shared his perspectives on the challenges and achievements within the disability arts scene in Australia, including public awareness and integration with contemporary art.
• "Interview with Asphyxia"
  Asphyxia is an artist, author, activist and performer who has founded Amplio, a music app for Deaf and hard of hearing people. She also provides free online Auslan lessons and online art courses. Interview Summary Asphyxia is a Deaf artist whose journey into the arts started with a deep love for ballet, but after facing discrimination due to her Deafness, she pivoted to a successful career in circus performance and later puppetry, which embraced her Deafness and signing skills. Her work in performance art led her to write and illustrate the Awards-winning art-journal book, Future Girl, which explores Deaf identity and environmental issues. She has now moved into music, creating an app that makes music accessible and writing music designed with Deaf and hard of hearing audiences in mind. Although not sure about the major milestones in disability arts history in Australia, she considers her art to be both political and personal, often tackling issues related to her identity as a Deaf person and the aesthetics of disability equipment. While Asphyxia identifies as a Deaf artist, above all, she sees herself as an artist whose work appeals to the mainstream while celebrating Deafness and diversity.
• Julian Martin
• Anthony White
• "Amanda Cachia (2022) Networks of Care: Collectivity as Dialogic Creative Access, in Amanda Cachia ed. Curating Access: Disability Art Activism and Creative Accommodation. London: Routledge, 219-230"
  Reads, in part "The collectives that have formed in recent years and that will be the subject of this chapter include the Feminist Health Care Research Group (FHCRG), the Sickness Affnity Group (SAG), and Power Makes Us Sick (PMS). Each of these groups attempts to be intersectional in their approach, focusing on feminist and crip revisions to health care. Feminist and crip unite in the groups as the participants all identify as both women and as disabled. In shared spaces, which can be found in physical spaces, such as an art gallery or an artist’s home, or online through Zoom, artists can offer mutual understanding of their experiences with chronic illness, disability, the medical industrial complex, and simply be a shoulder to lean on in times of anxiety, anger, and sadness. The collectives also offer an opportunity for the artists to lift each other up, creating an environment of respect, dignity, and self-worth, becoming a strong circle of empowerment, affrmation, and allyship. The proliferation of these support groups shows a general shift in social norms, where the medical feld no longer holds the only authoritative voice on health. This phenomenon also indicates how nonmedical health based groups are flling a need and making up for a lack in social support networks elsewhere, particularly within sanctioned medical arenas."
• "Bree Hadley (2022) A ‘Universal Design’ for audiences with disabilities? In Reason, Matthew, Connor, Lynne, Johanson, Katia, & Walmsley, Ben (Eds.) Routledge Companion to Audiences and the Performing Arts. Routledge, Abingdon, Oxon, pp. 177-189.”
  “Understanding of how to create inclusive performance experiences for spectators with disabilities remains nascent in research, policy, and practice. In this chapter, I survey the state of knowledge in this field – or, as it turns out, fields, given that specialist knowledge of sign language interpretation for d/Deaf spectators, audio description for blind spectators, and relaxed performance for neurodiverse spectators, has developed separately, without intersection. I then investigate recent efforts to create inclusive aesthetics that incorporate accessibility features into performance work, as an integral part of the aesthetic, rather than as interpretations, captions, or descriptions alongside the work. I examine why this ‘Universal Design’ approach has been embraced with enthusiasm, both by disabled producers and spectators, and by non-disabled producers and spectators.”