Disability Arts History Australia

Items

• "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 Graham Wilfred Junior"
  Graham Wilfred Junior is a Yolngu man and artist with Incite Arts were he works with different mediums including filmmaking, writing, performing, digital art, music and painting. Interview Summary Graham, an emerging artist with spina bifida whose father inspired his passion for art, has pursued various art forms including painting, music, and digital art, and is venturing into theatre and filmmaking. His digital artwork, through the creation of the emoji app, helps teach the Arrente language, a part of his cultural heritage, and he seeks to expand his impact through acting and creating films. Graham's motivation is to both celebrate and inspire people with disabilities, aiming for recognition as an artist rather than focusing solely on his disability. Graham shares his journey with Incite Arts, highlighting his involvement in music workshops, acting classes, and script development, emphasizing the importance of representation and empowerment for individuals with disabilities, ultimately aiming to document his experiences and create impactful performances that leave a legacy to encourage others to pick up where he leaves off, ensuring the continuity of artistic expression within his community.
• "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.”
• "DADAA Find A Program Webpage, captured 2023"
  DADAA Find A Program Webpage, captured 2023 – includes information about Visual Art, Digital Art, Dance and Performance, Music, Children and Young Adult, and Mentorship programs
• "Arts Project Australia - Publications, captured 2022"
  Arts Project Australia - Publications - Includes information about SINCERELY YOURS ZINE 2022, ART ET AL. BROADSHEET ISSUE 1 2021 (inclusive, curated international art platform that commissions and presents collaborations between artists from supported studios, artist peers and arts professionals), ANTIDOTE 2021, REACHING POTENTIAL (REPORT 2021 (including exhibition essay by Dr Marion Piper Words Make Worlds), A SENSE OF PLACE 2003 (including The Significance of Space, The Meaning of Place by Dr Cheryl Daye and Kitty Ginter), VALERIO CICCONE: PERIPHERAL OBSERVER 2012 (including Peripheral Observer catalogue essay ‘This is me – some thoughts on the art of Valerio Ciccone’ by curator Glenn Barkley pp. 8-10), VIDEO DOCTOR 2013 (including essay by Geoff Newton), SO FAR… eight artists / eight stories 2014, IT TAKES MORE THAN 140 CHARACTERS TO WRITE A NOVEL (2015 (Including exhibition essay by curator Dr Vincent Alessi), AUTO BODY WORKS 2018, FEM-aFFINITY 2019 (including FEM-aFFINITY catalogue essay If Collaboration is the Method, Activism is the Intention by curator Dr Catherine Bell pp. 19-24), POP UP STALL: The Festival of the Photocopier Zine Fair
• "Arts Project Australia - Manifesto, captured 2022"
  Arts Project Australia - Manifesto - reads, in part "Fuelled by an unwavering belief in our artists, we’re buoyed by the creativity and authenticity that exists in our space and heartened by those who delight in sharing it. We believe that art is serious, but making it can be fun. The individual creativity triumphs over conformity and divergent voices make life much more interesting. That art is about revealing ourselves and creating meaningful connections – between artists, staff artists and art lovers. Our experience will always be shared, our knowledge passed on and our studio, bound by creativity, integrity and generosity in equal measure."
• “Research project ‘Disability and the Performing Arts in Australia: The Last Avant Garde’ investigates the creative and aesthetic strategies of the Australian disability arts sector”
  A research project beginning in 2016, ‘Disability and the Performing Arts in Australia: The Last Avant Garde,’ investigated the creative and aesthetic strategies of the Australian disability arts sector. The project sought to map “disability arts practice across the nation” by examining “the role of artistic experimentation,” “co-design[ing] accessible strategies,” and raising “critical recognition, employment and funding opportunities for artists.” The project team describes themselves as a collective “of deaf and disabled and non-disabled researcher artists, performers, writers, arts managers and theatre makers.” The work was the result of a collaboration between Arts Access Victoria, University of Melbourne, and University of Sydney. The Australia Research Council provided funding for the research.
• “The National Disability Insurance Scheme (NDIS) is launched”
  Following the spike in interest in the mid to late 2000s, significant steps were made towards the development of the National Disability Insurance Scheme (NDIS). It came about as the result of discussions about alternatives of disability support arrangements from 2007 to 2011. This included National Disability Strategy 2010–2020. A trial phrase of the NDIS was launched in 2013, and the scheme was rolled out across the country from July 2016. The 2022 change of government, which saw the Labor party voted in for the first time in nine years, reflected voter concern for climate change and social policies. The new prime minister Anthony Albanese ordered an independent review of the NDIS. The NDIS Review report was published in 2023 and had a number of recommendations, including affording funding based on functional impairment rather than diagnosis, increasing support for children, a requirement that all providers be registered, and state governments providing supports through other services for people who do not meet NDIS criteria.
• "Bree Hadley, Eddie Paterson, Madeleine Little, Kath Duncan (2024) How Disability Performance Travels in Australia: The Reality Under the Rhetoric. In Czymoch, Christiane, Maguire Rossier, Kate, & Schmidt, Yvonne (Eds.) How Does Disability Performance Travel?: Access, Art, and Internationalization. Routledge, Abingdon, Oxon, pp. 62-76.”
  "The last three decades has witnessed the development of a distinct narrative about how disability performance has become a much celebrated component of the Australian theatre landscape. A central aspect of this narrative is the critical importance of festivals, events, and other industry initiatives that allow disabled performers to travel - both conceptually and corporeally - to meet and be mentored by other artists, and to present their work to new and more mainstream audiences, in new spaces and places, around the country, and around the world. In this chapter, we draw on historical data, collected as part of an AusStage ARC LIEF project designed to database information about disability drama, theatre, performance, and dance over the past 100 years, as well as the Last Avant Garde ARC Linkage project on disability performance in Australia, to unpack areas where the reality seems to challenge some of the dominant rhetoric."
• "Bree Hadley, Janice Rieger, Eddie Paterson (2024) Reinhabiting, Reimagining, and Recreating Ableist Spaces: Embodied Criticality In Art. In Ellis, Katie, Kent, Mike, & Cousins, Kim (Eds.) The Routledge International Handbook of Critical Disability Studies. Routledge, pp. 48-58."
  "In this chapter we bring critical disability studies into dialogue with disability artworks that resituate critiques of inaccessibility and exclusion as complicated encounters with space, lived experience and embodiment. Drawing on Irit Rogoff’s (2003, 2006) notions of embodied criticality, and the pioneering work of performance studies scholar Petra Kuppers (2003, 2014), we argue for an embodied, embedded and creative form of critical disability studies – enacted through art. We examine two recent performance and installation works in hotels: Welcome Inn (2019) by British artist Christopher Samuel, and Intimate Space (2017) by Australian performance company Restless Dance Theatre."
• "Bree Hadley, Janice Rieger (2021) Co-designing choice: objectivity, aesthetics and agency in audio-description. Museum Management and Curatorship, 36(2), pp. 189-203.”
  "The ‘Vis-ability’ exhibition, presented at the QUT Art Museum in 2019 was an exhibition curated with clear social inclusion goals from the outset. Through it, the museum sought to develop innovative, cost effective, and readily replicable techniques to allow blind and low vision visitors and artists to engage with the institution and its collections. The results affirm the benefits of offering blind and low vision visitors a spectrum of engagement choices, and also affirm that blind and low vision artists and visitors have capacity to make a critical contribution in co-designing that spectrum of choices. This exhibition and its use of multisensorial elements offers a useful prompt to museums to engage this community more fully in co-designing inclusion in the future."
• "NuunaRon Queensland"
  Webpage for First Peoples Disability Network NuunaRon Art Group, with video introducing where Paul Constable Calcott introducing the group, reads in part "NuunaRon is a group for Aboriginal and Torres Strait artists and emerging artists living with disability."
• "NuunaRon - Min Min Lights by Josh Lennox"
  First Peoples Disability Network NuunaRon Art Group - 'Min Min Lights' by Josh Lennox
• "NuunaRon - Rainbow Serpents by Eve Kitchener"
  First Peoples Disability Network NuunaRon Art Group - 'Rainbow Serpents' by Eve Kitchener
• "NuunaRon - Totums by Paula Wotton"
  First Peoples Disability Network NuunaRon Art Group - 'Totums' by Paula Wotton
• "NuunaRon - Wiradjuri Country by Eve Kitchener"
  First Peoples Disability Network NuunaRon Art Group - 'Wiradjuri Country' by Eve Kitchener