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.
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.
Middlesbrough Institute of Modern Art has announced Alistair Hudson of Grizedale Arts as its new director.
Peckham Platform launches its new vision as an independent charity with the opening of Ruth Beale’s participatory installation, Bookbed. We talk to the artist and the organisation’s executive director Emily Druiff about libraries, socially-engaged practice and being a creative educational platform.
As part of its programme, Artworks Navigator developed this bibliography to identify and present a range of available resources for artists working in participatory settings.
A summary of the key learning from four Artists Labs run between August 2012 and January 2013 by the Navigator pathfinder as part of ArtWorks.
As part of its programme, Artworks Navigator developed this bibliography to identify and present a range of available resources for artists working in participatory settings.
A summary of the key learning from four Artists Labs run between August 2012 and January 2013 by the Navigator pathfinder as part of ArtWorks.
A new centre for contemporary art and learning has just opened in a landmark heritage building in Leeds. Tina Jackson paid a visit to The Tetley’s opening weekend to find a “buzzing and inclusive event” that pitched agitprop public discussion and an artist’s open studio alongside a selection of curated artefacts from the the building’s former life as a brewery, and provided a fascinating perspective on the relationship between art and labour.
A small rural town in Derbyshire is hosting a weekend of talks, discussion and performance as part of the visual arts programme of its annual festival. We talk to the curator and one of the festival’s commissioned artists.
FACELOOP is an intriguing installation and event that will physically recreate the world of Facebook in a house in rural Aberdeenshire.
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The recent Craft and Social Change conference looked at how craft can affect a ‘soft revolution’ by turning away from top-down structures towards a more DIY culture. But, as Sharon Mangion reports, the ‘slow’ logic of the Craftivism movement is combining once solitary practices with new media technologies to reconnect communities and mobilise global audiences.
