Our Scene Report series continues with a visit to Dumfries, home to the artist-led Stove Network and a lively visual arts scene with a strong focus on community and participation. Martin Joseph O’Neill reports.
Socially Engaged Practice - a-n The Artists Information Company
As an artist or freelancer working (on a paid or voluntary basis) in certain environments – such as running workshops in schools or with vulnerable adults – requires you to undertake a check by the Disclosure and Barring Service (DBS). Educator Sarah Blaszczok explains why a DBS check is needed, how to get one, and the costs involved.
The first of three reports that explore the potential civic role of publicly funded arts organisations, within the context of wide community and political divisions in 2017.
Yesterday I learned a great deal about being invisible as a socially engaged artist – in the context of intersecting minorities. I am an autistic white Anglo-Spanish woman of middle age. My current project in collaboration with Elena Thomas; The […]
Oliver Bennett reflects on the challenges of introducing art into the public realm, following his attendance at Oslo Pilot’s symposium, as the city seeks to challenge the existing biennial format and enable new dialogues with its public space.
Short guide with case studies demonstrating the use of culture in placemaking by ten local authorities.
From community university partnerships to practice-based PhDs and tenured teaching posts, a new set of resources developed for a-n by artist Steve Pool identifies some key ways artists are working within higher education, and considers the value of such relationships to both artists and institutions.
Developed by Steve Pool, Artists working in higher education includes a guide and four profiles that explore the ways artists are currently engaging with the HE sector. This introduction highlights the diversity and value of such relationships, and offers some key tips for working in the field.
Within UK universities, visual artists are working across university departments in many different ways ranging from arts and health initiatives, residencies and cultural heritage projects to commissions, teaching and PhD research. Artist Steve Pool identifies some key ways artists are working within HE and considers the value of such relationships to both artists and institutions.
Artist Paul Evans discusses how his work became aligned to the research undertaken within universities and how his socially engaged practice has enabled academics and the public to better understand the nature of university research. Based on an interview by artist Steve Pool.
Kate Pahl, Professor of Literacies in Education at University of Sheffield, discusses what artists bring to academic research projects, and identifies some of the challenges artists and academics face when working together. Based on an interview by artist Steve Pool.
Having developed a practice based around working with people in a participatory manner, in 2015 Anthony Schrag completed a practice-based PhD exploring the relationship between artists, institutions and the public within participatory public artworks. He discusses his reasons for undertaking a PhD, and gives advice to artists considering this option. Based on an interview by artist Steve Pool.
At the recent two-day Social Making symposium in Plymouth, socially engaged practice was discussed in relation to Arnstein’s Ladder, a theory of citizen participation devised in the 1960s. Carolyn Black explores its relevance.
Date:March 10, 2016 at 05:30 PM
Manifesta has announced that its 2018 edition will take place in the Sicilian city of Palermo with migration and climate change as its theme, while a pre-biennial programme will aim to engage the local community by setting out a framework for the city’s revitalisation.
For her book REGENERATION!, artist Jessie Brennan spent time on the soon to be demolished Robin Hood Gardens estate in Poplar, London talking to residents and making rubbings of their doormats. She speaks to Chris Sharratt about the nature of her practice, the importance of conversations and the clash of ideologies that the regeneration of the estate represents.
As the Creative Time Summit NYC takes place this weekend at the Boys and Girls High School in Brooklyn, Nato Thompson speaks to Pippa Koszerek about the summit, his new book Seeing Power and how art can impact social change.
Liverpool-based artist Emma Sumner reports from two recent community arts focused events in the city, a Temporary Parliament tasked with selecting the winner of the 25,000 Euro Visible Award for ‘socially engaged practices in a global context’, and a conference organised by Liverpool Biennial which looked to learn from the legacy of community arts projects in the light of a renewed interest in socially engaged art.
For his first major commission in the UK, Chicago-based artist Theaster Gates has created an installation in the grounds of a disused church in Bristol that will be alive with performances and discussion day-and-night for 552 hours. Rowan Lear reports from the opening weekend.
engage is seeking proposals for its journal reflecting on the shifting nature of artists’ residencies and the challenges faced when artists and organisations work together.
In a piece originally published as part of a-n’s 2015 Degree Shows Guide, Artes Mundi director Karen MacKinnon discusses the wider possibilities of the degree show for artists developing a socially-engaged art practice.
Brook and I have had several interesting conversations during the past few days – I’m finding it hard to make time to edit them, but have uploaded the second today on Vimeo (Vimeo.com/patwilsonsmith Conversation#2:Self, Feminism & the Anthropocene) Negotiating this […]
Fi Burke’s latest project celebrates the culture and history of the windmills of rural Lincolnshire, the communities that once relied on them for their daily bread, and those living in their shadows today. We talk to the artist about her exhibition, Since Sliced Bread, which marks the culmination of her year spent exploring the ‘field to fork’ journey of the food we eat.
The latest leg of artist Eve Mosher’s HighWaterLine project, that works with local communities to visualise the effects of climate change by mapping areas at risk of flooding, launches today in Bristol.
A survey commissioned by the Paul Hamlyn Foundation ArtWorks’ initiative has revealed that whilst artists are willing to pay for training to deliver arts in participatory settings, employers and commissioners should contribute too.