A couple of days ago, I gave a lecture about art in criminal justice contexts. It’s not a field in
Reading yet another account of a community outreach project undertaken by an arts organisation, I could feel my heart sinking
In Britain, participatory art is at a tipping point. It will continue to grow, but how that happens will be influenced by choices that lie with public institutions: the Arts Councils in England, Wales, Scotland and Northern Ireland, art schools and universities, local councils and services.
When I argued – as I still do – that people benefit from participating in art, it is because of its potential for learning, emancipation and empowerment. Experience changes us. Powerful experiences, such as those that come from creating art with other people, can change us deeply. But that change is something we do for ourselves: it is not done to us
Too long; didn’t read? Fair enough: so here’s a quick summary of the ground covered in the book: 80.000 words reduced to about 1,350
In the Universal Declaration of Human Rights, culture stands between participation and community. Those words express the concepts most widely used to describe art made collaboratively by professional and non-professional artists: participatory art and community art.