2003 Conference

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1 – 4 October, 2003

Hosted by the School of Art, University of Tasmania

Rather than set a theme for the 2003 conference, the 2002 AGM agreed to let the conference content be set by the current interests of Australia’s art, craft and design practitioners, historians and theorists. We also acknowledged that not all art/design school-based art, craft and design practice meets the criteria of formal academic research, and that our recent conferences have tended to privilege traditional academic research over traditional creative practice. The 2003 conference aimed to include the full range of practices.

This site includes all papers presented at the Conference, comprising both refereed papers and unrefereed papers; unrefereed papers are indicated below with an asterisk (*).

Refereed Papers

The refereeing process complied with guidelines set by the Australian Government Department of Education, Science and Training (DEST). Referees were chosen from the academic community and were independent experts in their chosen field. Each paper submitted for refereeing was submitted as a ‘blind’ (unidentifiable) copy. Written comments were received from each referee for each paper. Papers requiring revision were returned to authors for the required changes. At no time were referees informed of the identities of the authors whose papers they were assessing, nor were authors informed of the referees’ identities. The Keynote papers were not subject to this process.

These papers have been edited for consistency in presentation, and an effort has been made to ensure that all papers are free from errors.

Unrefereed Papers

Those papers that were not subject to peer review and editing. Unrefereed papers are indicated below with an asterisk (*) to distinguish them from refereed papers.

ACUADS 2003 Conference
Survey: Current art and design research and practice within Australian tertiary art and design schools
Tasmanian School of Art
University of Tasmania
1-4 October 2003


OLITHO Rosalind H Johnman: The role of a psycho/social model in interpreting the art of children and the usefulness of such a model for education in tertiary art institutions
ANDERSON Lisa: Wondering and Pondering: The Effects of Mega-Events on Our Demands and Perceptions of Public Art and Public Space
CAMERON Milton: The Jury’s Out: A Critique of the Design Review in Architectural Education
CHAPMAN Christopher: Notes on the Representation of Young Male Skateboarders as Sexualised Subjects in Internet Imagery
COLLESS Edward: After the Colless: The Aesthetics Of Superabundance
CONNELLAN Kathleen: Opening Pandora’s Paintbox
DeCLARIO Domenico: Can a Contemporary Arts Practice Significantly Include Academic Leadership? Can Significant Academic Leadership Constitute a Contemporary Arts Practice?
DICKINSON Michael: The ‘story’ as an alternative mechanism for revealing the silent language of objects
EDDISON Antony: Design Research and the Five-legged Dog
ELIAS Ann: Camouflage and Deception
ELLMOOS Niels: Beneath the Surface: The Cultural Landscape of Mining Town
FAUST Chantal: Thummee
FITZGERALD Mirabel: Artist Researchers: Gatecrashers at the University High Table?
FRANKHAM Noel: Hunter Island: A Visual Investigation and Interpretation of the Precinct’s Heritage Material and Culture
GLUTH Stuart: Teaching Creativity
GRAY Alexandrina: Constructing Cultural Identity or, Painting The Town
GRZIWOTZ Peter: Self Portrait with Pillow Creases
HODGKIN Jonathan: Just Too. Pink: Visual Culture, Absent Homosexuality and Identity
HOLMES Jonathan: Going Solo: a report on survey exhibitions in Australian public museums in the 1970s
HUME David L: Art and the Tourist gaze, three discrete categories of souvenir: Sampled, Crafted and Representative
JOSEPH Frances: Navigating Design and its Histories
KNIGHTS Mary: The Diseased Corpse
KUNDA Maria: Recharting Surrealism
LLEWELLYN Anne & SANDERS Christine: Interdisciplinary Links ­ the Art of Science and the Science of Art
MALOR Deborah: Trailblazing: Public Art and Community in the Meander Valley
MARKSJO Viveka: Replacements/Displacement
MASON Penny: Seeing and Reading Vital Signs
MATHEWSON Donna: Disrupting Notions of Collaboration: An Alternative Approach to Educational Engagements in Museum Settings
McARDLE James: Picture Words: toward an art-critical methodology
McDONALD Gay: High Art and Industrial Design: MoMA and the Politics of Marketing the USA in France
McGRATH Vince: Differentiate or Perish: the Future for Regional Visual and Performing Arts Schools
NEGRIN Llewellyn: The Paradox of the Return of the Body in Post 1950s Body Art
NELSON Robert: Less than collaborative: scene painting and the paradoxes of the background, a visual Investigation
OZOLINS Brigita: Installation: Strategy or Style?
PARR Geoff: Case Study of an ARC Large Grant Project
PATERSON Simone: A Databody Discourse in image and text
PHILLIPS Anna: From the Foul to the Fragrant: Olfactory Recollections of Paris
PITCHFORD Jo: Form and Function: The Image on the Inside of the Eggshell
SCHILO Ann: Place Making: Some Reflections on Western Australian Art Practice
SNELL Ted: After the Ball: The Cinderella Art Collections and their Future
SPEIRS Andrew: The Individual and the Stereotype: From Lavater to the War on Terror
STEWART Robyn: Glancing Out the Back: Artist’s Research Memories
WALCH Martin: Lines of site from signs of light: interpreting environment through image and experience
WELCH Andrew: Generic Attributes and Curriculum Strategies for Successful Transition to Professional Practice
WHAMOND Ashley: At Arm’s Length: The Critical Distance of Digital Photography
WOODROW Ross: Queen Victoria versus “King Billy”: Images as History
ZEPLIN Pam: Ten Days on the Island or, Rough Seas on the Trans-Tasman Crossing, ANZART-in