Restless Research: Confessions of a Confused Community Art Scholar
If you’ve read some of the material published on this site, I hope you’ll understand why I describe participatory
Category: History
‘It’s given us permission to play, to take part, to engage.’
‘A Fun Palace is not a fete. It’s not about coming along and having a lovely time. It’s not audience
‘Just our imagination’
Bridget Lambert has spent the summer painting a tribute to Dolores O’Riordan with children in rural Limerick. The singer, who
On volunteering: who gets paid (cont.)
A few days ago, I wrote a post about who does, could or should get paid for their time in
Why are there so few books about community art?
There are very few books about community art in Britain, despite its 50 year history. The key texts are: 1978, Artists
Keep your eyes on the prize, hold on
In A Restless Art (the book, not the blog) I argue that participation has become normalised in cultural policy and
Who gets paid – and why?
Like a lot of freelance artists, what I get paid ranges from a lot to nothing, according to the commissioner’s
‘‘I didn’t realise I had so much to say until we began this conversation.’
Click here to download this case study in English (PDF 22MB) Clique aqui para descarregar este caso de estudo em
What’s in a name?
When I began thinking about this project, several years ago, I was determined to avoid the marshlands of jargon. Participatory
The complexities of socially-engaged art practice
‘What are our motives? How do we make sure this isn’t just about us as artists and what we want?
