Call for Papers

National Visual Art Education Conference 2014

Connecting Classrooms, Curriculum & Collections


21 - 23 January 2014


For conference enquiries email or +61 2 6240 6524. Alternatively try our faq.



Bowl supported by two figures Roviana Lagoon, New Georgia, Western Provicine, Solomon Islands. Gift in memory of Captain Arthur Middenway, 2012 More detail

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Invited speakers

Jon Burchill

Jon has been involved in architectural projects working as a Designer and Project Manager for the past 30 years.  He was employed by Mitchell/Giurgola & Thorp Architects as a Staff Designer from 1984 until 2002 during which time he worked on many commercial projects both in Australia and overseas. These included Parliament House in Canberra, the Singapore Armed Forces Training Institute (Singapore), the Maui Community Arts and Cultural Centre in Hawaii and many others. 

His role as Staff Designer was to provide technical support to the architectural team where required and to manage specific aspects of projects such as the coordination and installation of major art commissions. In 2002 Jon left Mitchell/Giurgola & Thorp Architects and formed JB Design Consultants Pty Ltd.  This firm continued to work with his former employer on on-going projects for a number of years.  Jon is currently the Director of JB Design Consultants Pty Ltd and continues to provide design and project management services to local clients.

Neville Bonner Primary School Art Program

The Bonner Primary School P-6 and Aboriginal Peoples and Torres Strait Islander Peoples Learning and Cultural Centre are situated in the newly developed suburb of Bonner in the Gungahlin area. The suburb is named in honour of Neville Thomas Bonner AO, who was the first indigenous Australian to become a member of the Parliament of Australia. The school was built by the ACT Department of Education and Training (DET).

The Art Program for the Bonner Primary School is based around the premise that this school is a place where students and the community will have the opportunity to learn about the culture of Aboriginal and Torres Strait Islander Peoples, not only through the use of text books or formal classroom learning, but by using art to prompt storytellers to impart essential life lessons to the students, as ATSI cultures have done for many thousands of years. Jon Burchill and Wally Caruana were the Art Program coordinators for the project. They will discuss the conceptual basis for the commissions, the select the selection of artists and some of the art commissions.

Wally Caruana – Consultant and former Senior Curator of Aboriginal Art, NGA

Wally is an independent curator, consultant on Indigenous Australian art and author. He is a graduate from the Canberra School of Art in 1975, and was curator, then senior curator of the Aboriginal and Torres Strait Islander Art Collection at the National Gallery of Australia in Canberra from 1984 to 2001.

During his time at the National Gallery, Wally oversaw the development of the collection of Indigenous art and curated and co-curated a number of exhibitions including The Aboriginal Memorial and The Continuing Tradition in 1989, Flash Pictures in 1991, The Painters of the Wagilag Sisters Story: 1937-1997 in 1997 and Aboriginal Art in Modern Worlds (Worlds of Dreaming) at the State Hermitage Museum, St Petersburg, Russia in 2000.

Since leaving the NGA Wally has worked on a number of major exhibitions, including: Likan'mirri–Connections, drawn from the collections of the AIATSIS at the Drill Hall Gallery in 2004 and 2012; Open Air: Portraits and landscapes, at the National Portrait Gallery in 2008; Out of Australia: Prints and Drawings from Sidney Nolan to Rover Thomas, at the British Museum, London in 2011; and Ancestral Modern: Australian Aboriginal Art, The Kaplan & Levi Collection, Seattle Art Museum, Seattle, USA, in 2012.

Wally is a contributor to art journals, exhibition catalogues and books, most recently to the catalogue of the exhibition Australia at the Royal Academy, London. He is the author of Aboriginal Art in the Thames and Hudson World of Art Series, London and New York.

Neville Bonner Primary School Art Program

The Bonner Primary School P-6 and Aboriginal Peoples and Torres Strait Islander Peoples Learning and Cultural Centre are situated in the newly developed suburb of Bonner in the Gungahlin area. The suburb is named in honour of Neville Thomas Bonner AO, who was the first indigenous Australian to become a member of the Parliament of Australia. The school was built by the ACT Department of Education and Training (DET).

The Art Program for the Bonner Primary School is based around the premise that this school is a place where students and the community will have the opportunity to learn about the culture of Aboriginal and Torres Strait Islander Peoples, not only through the use of text books or formal classroom learning, but by using art to prompt storytellers to impart essential life lessons to the students, as ATSI cultures have done for many thousands of years. Jon Burchill and Wally Caruana were the Art Program coordinators for the project. They will discuss the conceptual basis for the commissions, the select the selection of artists and some of the art commissions.

Franchesca Cubillo – Senior Advisor Aboriginal & Torres Strait Islander Art

Franchesca Cubillo is the Senior Advisor Aboriginal & Torres Strait Islander Art at the National Gallery of Australia and has worked in the museum and art gallery sector for the last 25 years. She was employed in several state and national institutions throughout Australia, including the South Australia Museum, the National Museum of Australia, the Museum & Art Gallery of the Northern Territory and more recently the National Gallery of Australia. She is a Churchill Fellow, has a Bachelor of Arts degree with Honours in Anthropology and is a PhD candidate with the Australian National University.

Cubillo has written extensively, presented lectures and keynote addresses on subjects such as the repatriation of Australian Indigenous Ancestral Remains, Aboriginal & Torres Strait Islander Art and Culture, an Australian Indigenous Museology and Curatorship.

Originating from Darwin, she is a member of the Yanuwa, Larrakia, Bardi, and Wardaman nations of the 'Top End' region of Australia and has been the Chair of the Darwin Aboriginal Art Fair since 2010.

Marian Drew – Artist

Marian Drew is Associate Professor at the Queensland College of Art, Griffith University and has developed education and research of photographic art practice through twenty- seven years of teaching, administration and community service. She was guest curator at the Queensland Art Gallery in 2011, and received the Australia Council artist residency in New York in 2010, 1989. She completed a Bachelor of Visual Art in 1984 at the Canberra School of Art with a Letter of Merit, and 1985 was awarded a German Government Scholarship from the DAAD and studied at Kassel University, Germany. In 1989, 1995, 2005 and 2010 she won Australia Council art awards and 2005, 1993 Arts Queensland awards. Commissions include the National Portrait Gallery, Brisbane Magistrates Court, Brisbane City Council, Environmental Protection Agency National Parks and Wildlife and Brisbane River Festival.

Marian Drew’s work is held in numerous public and private collections, including the John Paul Getty Museum, Los Angeles, Museum of Photographic Art, San Diego, National Gallery of Australia, Queensland Art Gallery, National Portrait Gallery of Australia, Art Gallery of South Australia and several Australian University art collections. Since 1984 Drew has held over 25 solo exhibitions in Australia, United States, France and Germany at private and public galleries and contributed to more than forty curatorial group shows in Australia, China, Germany, France, United Kingdom, United States and South America. She represented Australia in the First Asia Pacific Triennial 1993, Pingyao International Photography Festival, China 2010 and the Photography Biennale, Photoquai, Paris 2011.

Drew is a founder of the Queensland Centre for Photography and has supported the development of the institution for the last decade. Her first monograph was published 2006 titled Marian Drew Photographs and Video published by the Queensland Centre for Photography. Other recent book publications include 2011 The Rock and the Tree – Peru Australia, a cross national project with Peruvian artist Jorge Deustua and her work was included in 2009 book Earth published by Teuss, Switzerland. Private galleries represent her work in Melbourne, Sydney, Adelaide, Perth, New Zealand, Hong Kong and San Diego. For further details, see Marian Drew's website

Artistic process and the value of thinking through various media

This paper will examine the strategies and methodologies of my art production. The visual presentation will include preparatory studies as sketches and photographic notes, as well as finished works. The paper will examine how works develop across media and how thinking through various media strengthens and clarify ideas. Through visual examples I will explore how drawing, collage, sculpture, installation, photography and video come together to form and inform my artistic practice.

Jessamy Gee (Think in Colour) - Graphic Recorder

Jessamy Gee is passionate about communication. With a background in painting, portraiture and design, Jessamy uses her artistic skills to create tools for communication, comprehension and engagement, drawing upon the concepts of visual thinking and learning.  Jessamy launched Think in Colour in 2011 with the mission to assist corporate, government and community sectors to communicate complex ideas in simple, artistic and accessible ways through the use of visual stimulus.

Graphic Recording (or Scribing) is the process of visually capturing a presentation, conversation or meeting in real time using a combination of images and words to create a ‘map’ of key themes and ideas. It is, quite literally, the art of listening. More than just pictures, the process is a powerful tool in assisting analysis, dialogue, decision-making, brainstorming, conflict resolution and visualising strategy. It also creates a clear common understanding, sense of ownership, comprehension and memory tool for the participants. See Graphic Recording's website for more information.

Jonathan Jones – Artist

Jonathan Jones, Sydney-based Aboriginal artist and a member of the Wiradjuri and Kamilaroi nations of Australia, works across a range of mediums, from printmaking and drawing to sculpture and film. Jonathan often works with everyday materials such as fluorescent lights and blue tarpaulin, which he recycles and re-purposes to explore relationships between the community and individual, the personal and public and the historical and contemporary.

Jonathan has exhibited both nationally and internationally and has worked on several major public art commissions, including those at Westpac Headquarters and The Star in Sydney and the AXA Centre and National Gallery of Victoria (The Felton Bequest’s The Barak Commissions) in Melbourne. In past projects, Jonathan has sought to represent both the traditional and contemporary by working with a particular site’s historical usage and current vision.

Working from the ground-up to create works that connects communities and individuals, histories, environments and ideas is the central process of my creative practice. This process is embedded within sound principles of indigenous methodologies to create works that support and acknowledge local community, promote local ambitions and foster ongoing engagements, and see the artist as an agent for community. This talk will highlight a number of recent works, both permanent and ephemeral, that have been created in collaboration with communities and have major public outcomes.

Di Kerr – Educational Consultant, Education Services Australia Ltd / ACARA

Di Kerr is an educational consultant specialising in curriculum design, planning, resourcing and implementation. Since 2009 she has been a member of the Board of the Australian Curriculum, Assessment and Reporting Authority (ACARA) and of ACARA’s Curriculum Committee and has served as the Board’s liaison member on the ACARA Aboriginal and Torres Strait Advisory Group. In all of these roles she has been deeply involved in the development of the Australian Curriculum. Di was employed by Education Services Australia Ltd from 2001 and 2013 with responsibility for curriculum advice about the Australian Curriculum and for consultation with state and territory education jurisdictions about online resources to support the curriculum. Before that she worked as Executive Director for the Western Australian and ACT Departments of Education. She has also chaired the ACT Government Schools Education Council and the National Asian Languages and Studies of Asia Strategy Taskforce and has been a member of the Western Australian Curriculum Council, the Curriculum and Achievement Standards Advisory Group and the National Environment Education Council. Di has 20 years’ experience in the classroom teaching humanities and social science.

National curriculum in the Visual Arts – what's new and what's stayed the same?

The need for national curriculum in visual arts has been talked about for a long time but the Australian Curriculum: Visual Arts is not the first national curriculum in the visual arts ever developed at a government level in Australia. Di Kerr was a member of the national curriculum management team in the early 1990s and has been a member of the ACARA Board since 2009. She brings a unique perspective to curriculum development in the visual arts at a national level. This paper locates the common themes in curriculum development in the visual arts from 1993 to 2013 and suggests why they have remained important.  It identifies what is significantly different in the Australian Curriculum: Visual Arts from the 1990s Statement and Profile in the arts; not the least of which is the elevation of the Visual Arts from a strand to a subject in its own right. In comparing and contrasting the two processes of development and resulting curriculum documents, the paper points out the manifest strengths of the Australian Curriculum: Visual Arts and charts its development from the insider point-of-view of an ACARA Board member.

Linda Lorenza – Senior Project Officer, Arts Australian Curriculum, Assessment and Reporting Authority

BA Grad Dip Ed MA (Theatre) COGE
Linda Lorenza studied the anatomy of the voice with in her first degree in Linguistics focusing on speech and language disorders at Macquarie University after which she worked in Speech Technology at the University of analysing Australian English for computer recognition and synthesis of speech - the beginnings of the automated voice systems in use today (for which she accepts no responsibility).

Linda studied Opera at the Sydney Conservatorium and in Italy. She studied her Education degree at the University of New England and Gifted Education and her Masters degree in Theatre at the University of NSW. She has worked in schools as a teacher of drama, music, English and voice.

Linda was Head of Education at the theatre company, Bell Shakespeare for five years before joining the Australian Curriculum Assessment Reporting Authority to facilitate the development of the Arts in the Australian curriculum. She is currently a doctoral research student in the Faculty of Education & Social Work at the University of Sydney.

The Australian Arts curriculum

The Arts is one of the learning areas in the Australian Curriculum. It draws together five related but distinct art forms referred to as 'subjects': Dance, Drama, Media Arts, Music and Visual Arts. Each has its own different approaches and distinct knowledge, understanding and skills. Each Arts subject enables students to examine past, current and emerging art-making and art criticism across a range of cultures and places. Arts education in Australian school education is not new. An education rich in the Arts maximises opportunities for learners to engage with innovative thinkers and leaders and to experience the Arts both as audience members and as artists. (National Education and the Arts Statement, 2007). There's very strong evidence that the arts are valuable in education – not only for themselves – but also as a link to better attendance at school, better engagement with school work and therefore better educational outcomes generally for students  (Martin, A., Mansour, M., Anderson, M. Gibson, R., Liem, G.,  Sudmalis, D., 2013)

This presentation will walk through the Australian Arts Curriculum considering the framework developed to assist generalist teachers in the primary classroom and the distinction of roles of state and territory education authorities and the Australian Curriculum Assessment Reporting Authority.

Rose Montebello – Collection Study Room Coordinator, National Gallery of Australia

Rose Montebello is the Coordinator of the Collection Study Room at the National Gallery of Australia and is a practicing artist living and working in the Canberra region. 

Rose studied at the Canberra School of Art completing an honours degree in Printmedia and Drawing in 2000. Rose began working in the Registration Department at the National Gallery of Australia 2002 where she worked as an Art Packer and as an Art handler specialising in Works on Paper. Since 2007 Rose has been Coordinator of the Collection Study Room (CSR) and a member of the NGA Public Programs and Education team.

Within her personal art practice Rose explores themes around identity, relationship and mortality through the representation of the landscape and the animal world. She works primarily with photographic images, collage and construction to created detailed 3 dimensional tableaux. Rose has exhibited her work both locally and nationally.  Some of her works were recently acquired by Artbank and she is held in several private collections.

Anne O'Hehir – Curator of Photography at the National Gallery of Australia

Anne O'Hehir is the Curator of Photography at the National Gallery of Australia. She has put on numerous exhibitions and contributed to a number of publications including Carol Jerrems: photographic artist (2012, travelling 2012); In the spotlight: Anton Bruehl photographs 1920s – 1950s (2010); VIP: very important photographs from the European, American and Australian photography collection 1840s – 1940s (2007); Surface beauty: photographic reflections on glass and china (2005); Colour + Concept: International colour photography and Jump: photographers get off the ground for the children's gallery in 2003. She is also the Curator of the Photography gallery.

Out of the Box: Post-war American Photography'

Post-war American photography is one of the great strengths of the photographic collection at the National Gallery of Australia. At the same time the great Abstract Expressionist painters were changing the landscape of modern art, innovative and daring photographers were also exploring new ways of depicting the world.

They made work that made their audiences rethink both the great American dream and the way they thought about photography. Looking at the holdings of some of the most outstanding figures of the time – black and white work by William Klein, Robert Frank, Garry Winogrand, Lee Friedlander, Larry Clarke and Diane Arbus amongst others, and colour work by Ernst Haas, Helen Levitt and Saul Leiter – this session– this sessionon will look at the way they made work that explore both interior and exterior realities.

Emilie Owens – Acting Curator of International Prints, Drawings and Illustrated Books, National Gallery of Australia

Emilie Owens is Acting Curator of International Prints, Drawings and Illustrated Books at the National Gallery of Australia. She has worked in International Art at the Gallery since 2007 and with the Gallery's Kenneth Tyler Printmaking Collection since 2010. She is currently developing an exhibition showcasing the Tyler Collection's rare holdings of documentary film, sound and candid photography. Emilie is an Honours graduate of the Australian National University's Art History and Curatorship program.

Warren Perry – Writer and researcher, National Portrait Gallery, Washington

Warren Perry is a writer for the Smithsonian National Portrait Gallery.  He holds graduate degrees in medieval literature and creative writing from the University of Memphis and in drama and playwriting from the Catholic University of America.  He is the author of two published plays, The Sitters (2007) and Swift to My Wounded: Walt Whitman and the Civil War (2010).  Also, he is editor of and a contributor to Echoes of Elvis: The Cultural Legacy of Elvis Presley (2012).  Most recently he contributed four essays to the publication Smithsonian Civil War: Inside the National Collection (2013).

Elvis at 21

The photos taken by Alfred Wertheimer in 1956 portray Elvis Presley at the beginning of a journey that would last twenty- one more years. In those early days, Elvis was not an iconicon, but rather he was a young man attempting to break from a family cycle of poverty by the only means he understood—song and performance. Wertheimer's photos began as publicity shots, but now these works frame the Elvis narrative of 1956. These pictures have transitioned from RCA public relations photos to fine art photos and they serve to remind the world that there was a time when Elvis walked alone without the trappings of fame. This paper will discuss the beginnings of the icon, and the proximity of the artist to the sitter, a proximity that Elvis never again allowed another artist.

Kathy Temin – Associate Professor in Art and Design, Monash University

Kathy Temin is an Associate Professor at Monash Art and Design at Monash University, Melbourne. Recent solo exhibitions include: My Monument: White Forest, 2008 GOMA, Queensland Art Gallery (2014), Black Gardens at Roslyn Oxley9 Gallery (2013), Memorial Gardens at Anna Schwarz Gallery (2012); My Monument: Black Garden at the Art Gallery of New South Wales (2011), Kathy Temin at Heide Museum of Modern Art (2009) and My Monument: Black Cube at Anna Schwartz Gallery (2009). Her public sculpture commission Garden Islands 2012 from the City of Stonnington is on Claremont Street in South Yarra. Kathy's work has featured in numerous national and international projects, including currently in Drawing Now curated by John Nixon as part of Melbourne Now at the NGV, Melbourne and Australia at the Royal Academy in London (2013) Louise Bourgeois and Australian artists at Heide Museum of Modern Art (2013), Soft sculpture at the National Gallery of Australia (2009); Contemporary Australia: Optimism (2008) at the Gallery of Modern Art, ART TLV at the Helena Rubenstein Pavilion in Tel Aviv (2008), High tide: new currents in art from Australia and New Zealand at the Zacheta National Gallery of Art in Warsaw and Contemporary Art Centre in Vilnius (2006) and New 05 at the Australian Centre for Contemporary Art (2005).

Kathy Temin's work is predominantly sculpturally based using the unthe unconventional material of synthetic fur. Her work engages with the themes of cultural identity, displacement and remembrance through abstraction, materiality, scale, interior design from 1970's and suburbia. Her work is often site-specific, monochromatic and combines oppositional dialogues such as minimalism with sentimentality and play with remembrance. For this presentation she will talk about the process of her research using My Monument: White Forest, 2008 that is currently on display at GOMA; Queensland Art Gallery, Brisbane, My Monument: Black Garden, for the AGNSW in 2011 and the Memorial Gardens, 2012 for Anna Schwartz Gallery, Melbourne as examples. Current research for new work will also be discussed. The processes include travel, photography, drawing, model making and the stages of production of her work in the studio.

Tamara Winikoff – Executive Director of NAVA

Tamara Winikoff is the Executive Director of NAVA and is well known in Australia as an arts advocate, cultural commentator and senior arts manager. She has been involved in arts management for over twenty-five years and has spoken, written and published extensively about cultural and design issues. In 2004 she was awarded the Australia Council's Visual Arts/Craft Emeritus Medal for "outstanding achievement and contribution to the visual arts and craft in Australia". Previously Tamara worked at the Australia Council developing the Community, Environment, Art and Design (CEAD) program, was Director of the Australian Centre for Photography founding the journal 'Photofile', and worked at the Power Institute of Art and Visual Culture at the University of Sydney. She also has served on many boards and committees.

Tamara has interspersed these roles with work as an academic, teaching at the University of Sydney and Macquarie University in Sydney and the Oxford Polytechnic in the UK. She has been a chief investigator in three major research projects funded by the Australian Research Council and the Australia Council analysing the art industry and making recommendations for change. She originally trained and worked as an architect, spending some time as a dig architect on archaeological excavations around the Middle East. She has sustained a lifelong love of the arts, in her earlier years working as a graphic and theatre designer, printmaker, photographer and film-maker.

A Life of Art

The stats show that a remarkably high proportion of Australians are both audiences for and creative participants in the arts; more than football! Could it be that we are changing from being the sporting nation to the arts nation? Not yet but…

Research continues to affirm the value of art education in providing life enrichment for everyone including through school and beyond. However, while we hope to see a positive generational change of attitude amongst the community if the 'National Curriculum: the Arts' is introduced into all Australian schools from 2015 onwards, for professional artists the educational pathway looks increasingly rocky. And what happens to art graduates when they jump out of the nest?

This paper will propose some interconnected moves that could be made in the education and training environment, which could give more oxygen to the arts and see Australia become one of the great art nations.