Socially Engaged Practice - a-n The Artists Information Company

Workshop with children, 2017. Courtesy: Sarah Blaszczok
Resource

A guide to DBS checks

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.

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Blog Post

Are you socially engaged?

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 […]

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Symposium 'The giver, the guest and the ghost: the presence of art in public realms'. General views, Oslo Pilot, 2016, Oslo. Photograph: Ane Mari Aakernes
Resource Profile

Oslo Pilot: the giver, the guest and the ghost

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.

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Anthony Schrag, Make Destruction, 2014. Photo: Stuart Armitt
News News feature

Working in higher education: “Artists bring an independent vision”

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.

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Calum Crawford, Turnt Up, 2013. Exhibited as part of ‘Launch Pad: Manchester School of Art 2013’ at Castlefield Gallery Manchester.
Resource Introduction

Introduction: Artists working in higher education

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.

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Connected Communities
festival 2015. Artist Patrick Amber
paints Castlegate, Sheffield.
Resource Guide

Artists working in higher education

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.

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Paul Evans, Chaos and Theory with Humanstudio, window projection, Sheffield Institute of Arts Gallery, Sheffield, 2010.
Resource Profile

Paul Evans on socially engaged collaborations in HE

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.

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Anthony Schrag, Lure of the Lost: A Contemporary Pilgrimage, 2015. Photo: Stuart Armitt
Resource Profile

Anthony Schrag on practice-based PhDs

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.

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Palermo.
News News story

Manifesta 12: Palermo announced as host city

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.

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Jessie Brennan, A Fall of Ordinariness and Light, The Order Land, 2014,  Graphite on paper framed in aluminium, 57.5 x-71.5cm, Commissioned for Progress by the Foundling Museum, 2014
News News feature

Brutalist truth: Robin Hood Gardens and the politics of regeneration

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.

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2015 Visible Award: Temporary Parliament. Photo: Pete Carr
News

Community arts projects: “collaboration is important”

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.

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Theaster Gates, Sanctum, Bristol. Photography © Max McClure
News News feature

Theaster Gates in Bristol: “A collaboration with a city”

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.

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Blog Post

Week 3 – Who Do I Think I Am?

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 […]

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Fi Burke, Windmill Field, mixed media, 2014.
News News feature

Since Sliced Bread: uncovering what we mill and what we eat

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.

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