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Editorial - RT122


David Brophy, Presence in the absence of presence (detail), from the series Euphoric Recall, 2013. Tarpaulin, brick. Exhibition view HATCHED, Perth Institute of Contemporary Arts, 2014. David Brophy studied at Creative Arts, Central Institute of Technolog David Brophy, Presence in the absence of presence (detail), from the series Euphoric Recall, 2013. Tarpaulin, brick. Exhibition view HATCHED, Perth Institute of Contemporary Arts, 2014. David Brophy studied at Creative Arts, Central Institute of Technolog
photo Alessandro Bianchetti
It’s a fascinatingly trepidacious time for teachers and students of arts education and training. The resurrection of the culture wars, the ‘deregulation’ of university fees, consequent ‘increased competition’ and fear of the evolution of a two-tiered rich-and-poor university system sit side-by-side with exciting new degrees, programs, local and international partnerships and new buildings. It’s optimism against the odds as the tertiary sector makes its presence felt and integrates itself with the wider world.

We feature reports on developments at Monash University’s Centre for Theatre & Performance, VCA and Adelaide College of the Arts and survey courses in performance, theatre, dance and design across Australia

UNSW’s College of Fine Arts has been retitled UNSW Art & Design. The Dean, Ross Harley tells us about new teachers, equipment, studios, labs and galleries that will occupy new buildings, playing an instrumental role in the making of Art & Design’s local and international partnerships and reputation.

In regional coverage, Scott Howie empathises with refugees, casting himself adrift on Wollundry Lagoon in the centre of Wagga Wagga; Urszula Dawkins talks with Bridget Crone, director of the impressive Cinemas Project staged across regional Victoria; and we highlight Selena de Carvalho’s The Evolutionary StraitJacket = Climate Change Karaoke, a featured work in the 2014 Junction Festival in Launceston.

RealTime issue #122 Aug-Sept 2014 pg. 3

© RealTime ; for permission to reproduce apply to realtime@realtimearts.net

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