Back in June 2013 Practice.ie posted some in depth responses to the ambitious Arts in Education Charter – http://www.practice.ie/interviewarticlepage/51
The charter can be read here: http://www.education.ie/en/Publications/Policy-Reports/Arts-In-Education-Charter.pdf
The charter was launched 4 Jan 2013 by the Department of Arts, Heritage and the Gaeltacht and the Dept Education and Skills – and as yet hasn’t been implemented.
The Charter sets out many laudable aims and actions, that are perhaps of special interest to art-worker parents, whom might (but not necessarily) have greater concern that others about the place of the arts within the state administration of education and child development and care services.
A number of the responses gathered by Practice.ie mention the work of Reggio Emilia, in relation to teaching young children – which has been previously cited here on the Mothership Project website.
Item 1 of the charter, might raise some eyebrows – the Public Service Education Dividend (PSED), which is a stipulation that artist and art institutions in receipt of public funding donate a small amount of time to education initiatives).
What do art-worker parents – who might work for organisations or as individuals be occasionally in receipt of public monies – think about this call to volunteer a little of their time and expertise?
MILDRED’S LANE is a rustic, 96-acre site deep in the woods of rural northeastern Pennsylvania, in the upper Delaware River Valley, which borders New York state. It is an ongoing collaboration between J. Morgan Puett, Mark Dion, their son Grey Rabbit Puett, and their friends and colleagues. It is a home and an experiment in living. Mildred’s Lane attempts to coevolve a rigorous pedagogical strategy, where a working-living-researching environment has been developed to foster engagement with every aspect of life.
Contribution from: Mythological Quarter & Ada, title: The Robot Man Doll
The artists and curators of this site AGF and SUE-C make art with their children and so investigate this unique relationship and its collaboration potential.
By encouraging others to share their art created together with their children, we hope that this site will be a diverse and enriching space for this niche idea.
The project was launched 8 May 2011 – International Mothers Day.
The site features a callout on their site looking for critical pieces that articulate intellectual or creative ways of art made in collaboration with children.
The Mythological Quarter website (of Copenhagen artists Bonnie Fortune and Brett Bloom) has recently posted a couple of new profiles in the Artist Parent Series – Follow the link from their homepage: http://mythologicalquarter.net/
Professor Robert Williams is an artist & academic, he trained at Lancaster University and at Leeds University where he was a Henry Moore Scholar in Sculpture Studies in 1990. He has been leader of the Fine Art Programmes at Cumbria Institute of the Arts/University of Cumbria since 1998.
Jack Aylward-Williams, the son of Robert Williams & Gina Aylward was born on Christmas Day 1998. His current interests include natural history collecting, particularly insects & other invertebrates, Tudor history, experimental chemistry, conservation and The Beano.
Robert & Jack’s interdisciplinary practice encompasses sculpture,installation, performance, film-making & writing, and includes explorations of epistemology and systems of knowledge from the hermetic to the scientific- sources for the work are drawn from subjects as diverse as natural history, archaeology, anthropology, myth and legend.
Kindling Quarterly explores fatherhood. Through essays, interviews, editorials, art and photography we highlight creative individuals whose work and lives are inseparable from their role as a parent. Kindling Quarterly playfully assess and celebrates the multitude of experiences that form contemporary fatherhood.
Founded 2012 Kindling Quarterly is independently published four times per year.
To subscribe, advertise, or contribute visit www.kindlingquarterly.com.
33 Nassau Ave, 2nd Floor, Brooklyn NY 11222
In the the July/August 2013 issue of the Visual Artists News Sheet Martina Mullaney discusses her ongoing project ‘Enemies of good art’ that interrogates the invisibility of mothers in art practice.