A daily account about transforming this work into a business –
Socially Engaged Practice - a-n The Artists Information Company
Venue:Learning and Scientific Institute
Date:March 29, 2019 at 04:30 PM
Location:South West England
People and Places / Contemporary Art and the New Forest
A two-day summit at Sheffield’s Site Gallery and other venues across the city in November will feature artist-led labs and discussions around socially engaged practice, with the aim of launching a new biennale in 2020. Jack Hutchinson speaks to summit organiser RM Sánchez-Camus about the event.
As part of my research I have been looking at topsoil. It was interesting to investigate how to acquire topsoil, I was amazed at how much was available. The Installation is called; ‘The Ground beneath our Feet’. The title is taken […]
I should have known from previous experience that blogging in the middle of a big intense project wasn’t going to happen. I’m looking back, 6 or so months on, at my last posts and my intentions to write here about […]
5 days & counting …and I’ll be up-in-the-air on my first flight to NYC. I’m attending the last iteration (in its current form) of Open Engagement: Open Engagement (OE) is an annual, three-day, artist-led conference dedicated to expanding the dialogue […]
Following an artist-led community engagement intervention on the Trees Estate, Preston
Where did January and half of February go? The last six weeks have passed in a blur of activity. We got the fantastic news at the beginning of January that our grants for the arts funding bid to Arts Council […]
The debate around gentrification and the role that artists play in this contested area is increasingly being discussed and debated by artists themselves. But, asks Anna Francis in a piece originally published by The Conversation, is it right to accuse artists who work with regeneration projects of being part of the problem?
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.
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.
Continental research and perspective on the field of participatory arts, intended to enhance pedagogical practice.
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