Chapter 1

“This isn’t what I wanted!” Rachel began.

“Great opening line,” Patrick responded. “Is there more, or should I try to guess?”

“I wanted to get a doctorate!”

“And?”

“There’s nowhere around to do it!”

“Calm a bit and tell me.”

“OK. I asked at UNSW and the faculty members in fine art seem to think I’m a weirdo: painting is different from photography and stills are out, video is in. I asked Sandra and there’s no one at Macquarie who’s ‘qualified.’ The folks I know at Sydney seem to think I need to do something more ‘traditional.’ I really thought UNSW was the right place! Their blurb about the doctorate says [reading from a pamphlet]:

A PhD may be awarded to a candidate who completes a piece of research that demonstrates a significant and original contribution to knowledge in their field of study. Candidates acquire advanced specialist research training and produce a thesis that summarises the research and provides evidence for independent thought and critical analysis, effective communication and expert knowledge of the discipline in the international context.

“Independent thought and critical analysis!”

“Can I make you some tea?”

“Please.”

“Well, from what I learned from dad and what worked at the Law Faculty, we should be able to find a solution.”

“I don’t see it.”

“I think UNSW has indicated a goal, the Ph.D.; we need to work out the path. Calm down and let me think and get you that tea. Oh, and do you have a copy of the UNSW requirements?”

“Yes. But they’re scant.”

“All the better. They’re to be used, not followed. And a list of faculty?”

“It’s online.”

“Fine. [I had water up and some tea in the pot.] We’ll work it out and then run it past dad.” I brought the pot, a cup and a serviette to Rachel.

UNSW Art & Design offers internationally renowned postgraduate research programs for those students seeking to attain a PhD level research degree in art, design or media. PhD students are required to undertake independent, supervised research that leads to an original contribution of knowledge in an approved area of the creative arts.

Entry into a PhD degree program at UNSW Art & Design requires successful completion of a relevant Honours degree or equivalent. Applicants must prepare a research proposal.

The PhD Art, Design and Media****provides doctoral candidates with the opportunity to make an original contribution of knowledge to the fields of fine arts, design, media arts, curating, art theory, art education and their interdisciplinary fields through independent, supervised research and investigation. Candidates can make this contribution via practice and/or theory alone...

The PhD Art, Design and Media focuses on research training in the following areas:

Art and Affect

Art and Science

Creative Robotics

Culture and Technology

Experimental Arts Practice in the areas of Globalisation, Migration and Mobility studies, Trauma and Conflict

Experimental Curatorial Research

Experimental Data Visualisation and 3D Visualisation Aesthetics

Experimental Design

Experimental Environmental Research

Holography

Indigenous Art and Politics

Interactive, Immersive and Augmented Media

Painting, Drawing and Printmaking Research

Sound

Textile Design and New Technologies

“I don’t see where I’d fit in the list of areas.”

“I see several. Art and Affect (whatever that means) and Culture and Technology are the most obvious. But Indigenous Art and Politics might work. But it’s clear that you want to be in ‘Art, Design and Media’ not in ‘Arts and Social Sciences’.”

“You’re bonkers!”

“I know. But is it relevant? Anyway, let’s look at the faculty list.”

We did.

“I see a number of good possibilities. But one really strong one.”

“Which?

“Dr. Ivan Garshin.”

“Why?”

“He’s into cross-cultural studies. And film. And ‘understanding Australia’s past.’ I bet he’s even heard of both Dupain and Williams. The next one I like is Diane Matthews. Her degrees are from the US, she’s an anthropologist, and she worked at the Australian Museum. There are others, but I’d work seriatim.”

Maxwell Spencer Dupain (22 April 1911 – 27 July 1992) was an Australian photographer. The war affected Dupain and his photography, by creating in him a greater awareness of truth in documentary. In 1947, these feelings were reinforced when he read a book Grierson on Documentary (1946) which defined the need for photography without pretence.

Frederick Ronald (Fred) Williams (23 January 1927 – 22 April 1982) was an Australian painter and printmaker. He was one of Australia’s most important artists, and one of the twentieth century’s major painters of the landscape.

“Devious.”

“I’ve not begun. Look at this section on admissions.”

“Yes?”

“Admissions closed six weeks ago.”

“I know.”

“Ah! But did you notice ‘Late applications may be accepted subject to course availability’? Would you wager there would be a space for a doctoral student in Art?”

“Proceed.”

“It’s not yet 16:00. Phone Dr. Garshin at the office number and see if you can get an appointment with him tomorrow.”

“Tomorrow?”

“His consultation hours are Tuesday 12 to 1. Tomorrow is Tuesday. When you get him -- if you get him – tell him you’ve a degree from Sydney, that you’re interested in earning a doctorate, and might you see him tomorrow?”

“Then, we’ll prep you for the big meeting.”

“He said ‘Fine. Noon.’ Quite curt.”

“You’re an unknown, what should he do?”

“You’re right. But I’m already nervous.”

“Don’t be. This will be relatively easy. You’re going to make a proposal. Before that, you need to introduce yourself. Do you have a copy of the Gallery catalogue you can give him?”

“Yes.”

“And copies of two of your pieces in SMH?”

“Two?”

“The one on Williams and the one on the Sydney Bridge and Dupain. Now, you want to write about their views of the Australian landscape. Right? So why Garshin? First, he’s into film: still photography is the static aspect of film. Second, he’s into technology. Photography is intrinsically technological and the photos of the bridge under construction are the documentation of technology. Third, Williams’ appropriation of Aboriginal methodology in representation of the Pilbara is cross-cultural. And finally, comparing the photographic with the painted landscape is cross-medium. So you’ve come to him as the only one on the faculty whose metier encompasses yours.”