Applauders and authors: Notes on the profits and losses of audience engagement

2020 ◽  
Vol 6 (1) ◽  
pp. 27-37 ◽  
Author(s):  
Sophie Purchase
Keyword(s):  
Social Practice ◽  
Collaborative Work ◽  
Art World ◽  
Community Based ◽  
Audience Engagement ◽  
Building Relationships ◽  
Positive Effects ◽  
High Profile ◽  
The Arts ◽  
Venice Biennale

Social practices, whether described as socially-engaged, participatory or community-based, share the potential to transform audience members into active participants in an artwork or project. However, the purpose of this public engagement is sometimes in conflict with the private experience of the viewer, constructing a complex relationship between audience, artist and gallery. Beginning by contextualizing the historic position of the audience in relation to the arts, the present article uses this as grounding to unpick elements of the dynamic which exist today. ‘The audience’ investigates the reported social benefits of engaging in the arts, questioning how evidence of these positive effects is reported and judged. This article exemplifies Marcelo Sánchez-Camus’ work with patients in palliative care and Spacemakers’ community-based projects as artworks intended to instigate positive social change. Further, ‘The artist’ explores the relationship between those facilitating these projects and their audience. By breaking down the term ‘audience’ into viewers, participants, collaborators and co-authors, one can use levels of agency to segment those involved and the differing experiences of their involvement. Petra Bauer’s long-term collaborative work with SCOT PEP is used to demonstrate how a group’s agency and stakes within an artwork can be enhanced by building relationships on equal terms. Finally, ‘The gallery’, uses the high-profile examples of Tate Group and Venice Biennale to demonstrate how the more powerful entities in the art world can misrepresent engagement and participation as quantitative markers of success or accessibility. This article ultimately aims to question what motivates the production of social practice and how these entities are important in constituting a successful process and outcome, for audience, artist and institute.

Network Theory: How Can Its Application Cultivate the Conditions to Support Young Creatives?

2021 ◽  
Author(s):  
Parker Stephen Nolan
Keyword(s):  
Network Theory ◽  
Collaborative Work ◽  
Organizational Structures ◽  
Qualitative Inquiry ◽  
Community Based ◽  
The Arts ◽  
Creative Generation ◽  
Education And Social Change ◽  
Almost All ◽  
Culture Education

As observers to the intersectional fields of culture, education, and social change, Creative Generation witnessed the chosen organizational structure of “networks” come into vogue – particularly as smaller, community-based organizations have begun to participate in larger-scale, collaborative initiatives. In almost all examples, the individuals and organizations involved do their collaborative work through a “network,” using any number of connections and patterns. This qualitative inquiry sought to understand how applying Network Theory to organizational structures can cultivate the conditions to support young creatives. Through literature and conducting interviews with leaders of diverse networks in the arts and cultural education fields, this project provides an overview of Network Theory and examines examples of various models. This report proposes the following set of provocations for the field to interrogate the use of Network Theory in their projects’ implementation: strong connections between the network and its participants, shared power among network leadership and participants, clear expectations about funding, and specific role for young creatives in decision-making.

How Can Networks Cultivate the Conditions for Young Creatives to Thrive?

2021 ◽  
pp. 1-20
Author(s):  
Parker Stephen Nolan
Keyword(s):  
Network Theory ◽  
Collaborative Work ◽  
Organizational Structures ◽  
Qualitative Inquiry ◽  
Community Based ◽  
The Arts ◽  
Creative Generation ◽  
Education And Social Change ◽  
Almost All ◽  
Culture Education

As observers to the intersectional fields of culture, education, and social change, Creative Generation witnessed the chosen organizational structure of “networks” come into vogue – particularly as smaller, community-based organizations have begun to participate in larger-scale, collaborative initiatives. In almost all examples, the individuals and organizations involved do their collaborative work through a “network,” using any number of connections and patterns. This qualitative inquiry sought to understand how applying Network Theory to organizational structures can cultivate the conditions to support young creatives. Through literature and conducting interviews with leaders of diverse networks in the arts and cultural education fields, this project provides an overview of Network Theory and examines examples of various models. This report proposes the following set of provocations for the field to interrogate the use of Network Theory in their projects’ implementation: strong connections between the network and its participants, shared power among network leadership and participants, clear expectations about funding, and specific role for young creatives in decision-making.

scholarly journals Reverberation! A New Wave in Disability Art

2021 ◽  
Vol 10 (2) ◽  
pp. 7-26
Author(s):  
Maggie Bridger ◽  
Sydney Erlikh ◽  
Chun-shan Yi
Keyword(s):  
Intellectual Disabilities ◽  
Graduate Student ◽  
New Work ◽  
Art World ◽  
New Wave ◽  
Community Based ◽  
Creative Processes ◽  
The Arts ◽  
New Directions ◽  
Process Collaboration

Graduate student scholar/artists Sydney Erlikh, Maggie Bridger, and Sandie Yi reflect on their experiences of having attended VIBE: Challenging Ableism and Audism Through the Arts. The three were struck by the diversity and range of unique experiences reflected in the work of the presenting artists. Each author takes the lead on one of three themes they collectively identified: what constitutes disability art, how community shapes artistic and scholarly practice, and how boundaries of the field are evolving. The article explores the ways in which disabled artists are defining creative processes and aesthetic approaches outside of the mainstream art world and its ableist productivity demands. They also take note of how artists with non- apparent disabilities are actively moving the field in new directions. Finally, they examine the ethical dimensions of artistic “ownership” in the collaboration between artists with and without disabilities, particularly around those with intellectual disabilities and their allies. The authors ultimately offer a description of a new wave of disability art that is pushing the field to think through questions of process, collaboration, ethics, visibility, creative scholarship, and relationship to disability studies. This new work, they argue, is creating space for a more sustainable, community-based practice.

The Artist Knows Best: The De-Professionalism of a Profession

2019 ◽  
Vol 43 (4) ◽  
pp. 65-76
Author(s):  
Nancy Marie Mithlo
Keyword(s):  
Academic Discipline ◽  
Indigenous Studies ◽  
Tribal Sovereignty ◽  
Art World ◽  
Community Based ◽  
The Arts ◽  
Private Market ◽  
History Of ◽  
Art Exhibit ◽  
Public Museums

The traveling art exhibit Jimmie Durham: At the Center of the World (2017–2018) demonstrated three powerful art world tendencies: the use of fraud as an artistic register, the assertion of the artist as authority, and the decontextualization of the arts as an object-centered analysis. These three approaches are congruent with capitalism and the private market, while simultaneously negating Indigenous values of community-based knowledges that operate largely outside the commercial sphere. An analysis of these competing art world values reveals the complicity of public museums with private gain and not education, their stated mission. Ethnic fraud demonstrates how art institutions and their staff employ “selective worth” as a means to cloak the arbitrary exertion of power and simultaneous rejection of Indigenous studies as academic discipline built on the value of tribal sovereignty. Serving as a backdrop for these conversations are a discussion of the history of Native approaches to museology from the early tribal museum era forward and an examination of current “reformist” and “radical” approaches to theorizing Native arts.

How Can Networks Cultivate the Conditions for Young Creatives to Thrive?

2021 ◽  
pp. 1-20
Author(s):  
Parker Stephen Nolan
Keyword(s):  
Network Theory ◽  
Collaborative Work ◽  
Organizational Structures ◽  
Qualitative Inquiry ◽  
Community Based ◽  
The Arts ◽  
Creative Generation ◽  
Education And Social Change ◽  
Almost All ◽  
Culture Education

As observers to the intersectional fields of culture, education, and social change, Creative Generation witnessed the chosen organizational structure of “networks” come into vogue – particularly as smaller, community-based organizations have begun to participate in larger-scale, collaborative initiatives. In almost all examples, the individuals and organizations involved do their collaborative work through a “network,” using any number of connections and patterns. This qualitative inquiry sought to understand how applying Network Theory to organizational structures can cultivate the conditions to support young creatives. Through literature and conducting interviews with leaders of diverse networks in the arts and cultural education fields, this project provides an overview of Network Theory and examines examples of various models. This report proposes the following set of provocations for the field to interrogate the use of Network Theory in their projects’ implementation: strong connections between the network and its participants, shared power among network leadership and participants, clear expectations about funding, and specific role for young creatives in decision-making.

scholarly journals Sun and Sea (Marina). A Trap for Conventions and the Audience

Menotyra ◽  
2020 ◽  
Vol 27 (2) ◽  
Author(s):  
Vaidas Jauniškis
Keyword(s):  
Social Networks ◽  
Performance Art ◽  
Sharing Economy ◽  
Social Aspects ◽  
Art World ◽  
The Arts ◽  
The Social ◽  
Counter Culture ◽  
And Performance ◽  
Venice Biennale

The analysis of the opera-performance Sun and Sea (Marina), the winner of Venice Biennale 2019, shows how the contradictory traditions of opera and performance enrich each other and break numerous canons of the art world. Opera, which at the very birth of the genre was titled the most conventional and unnatural art, earned the top position in the social pyramid amongst the arts. Performance art represented counter-culture due to its naturalness and liveness. In their work, Lapelytė, Grainytė, and Barzdžiukaitė suggest playing with different contexts and different social aspects and questioning traditions of the arts. Opera changes due to a performative turn, interdisciplinarity, and revolutions in the opera world (Wilson and Glass Einstein on the Beach) due to the society of sharing economy, participatory theatre, social networks, and an experiential turn.

Art and Global South: “Playing Venice” at the Kochi-Muziris Biennale (KMB)

2020 ◽  
Vol 0 (0) ◽  
Author(s):  
Manuela Ciotti
Keyword(s):  
Material Culture ◽  
South India ◽  
Geographical Location ◽  
Global South ◽  
Art World ◽  
Cultural Form ◽  
Origin Identity ◽  
Global Art ◽  
Venice Biennale ◽  
New Location

AbstractThis article employs artifacts from the KMB’s “material culture” as a lens into this institution’s branding process and, within it, its interaction with the Venice Biennale. It analyzes larger questions about the career of the biennale cultural form as it re-territorializes in a new location that is added to the art world map “in progress.” Historically, geographical location has been crucial for many biennales in the Global South to articulate their origin, identity, and claims vis-à-vis the global art world. Moreover, biennale proliferation especially in the South has produced cartographic re-imaginings aiming to destabilize the “center-periphery” configuration of the art world map. The article shows that the KMB does not reiterate ideological standings put forward by Southern biennales but crafts its positionality on different grounds. These entail simultaneously anchoring the KMB to histories of circulation in and out of South India tracing back at least two millennia and strategically weaving a relation with the archetypical Venice Biennale in the present.

Arts Nonprofits—Associations and Agencies: A Literature Review

2019 ◽  
Vol 4 (4) ◽  
pp. 1-63
Author(s):  
Robert A. Stebbins
Keyword(s):  
Social World ◽  
Fine Art ◽  
Art World ◽  
Artistic Development ◽  
Public Benefits ◽  
The Arts ◽  
Or Groups ◽  
Dance Clubs ◽  
Financial Base ◽  
Selection Of

AbstractAn association is “a relatively formally structured nonprofit group that depends mainly on volunteer members for participation and activity and that primarily seeks member benefits, even if it may also seek some public benefits” (Smith, Stebbins, & Dover, 2006, p. 23). The arts that give birth to these organizations can be classified as either fine art or entertainment art. Every art association is embedded each in its own art world and its own social world. Members of these association are mostly amateurs or hobbyists in their art.Publications on arts-related amateur, hobbyist, professional, and mixed-member associations are reviewed. Their prime mission is to foster, present, and sometimes chronicle the art that its members prize. Many of these works report on the structure of the associations as well as on the recruitment, artistic development, deployment of artists, dissemination of their art, and retention of their members. Also reviewed is a selection of publications bearing on what could be called “arts consumption clubs,” or groups such as book clubs, dance clubs, and jazz clubs established to generate interest in a given art. Some of the publications reviewed center on associational management, use of volunteers, and financial base of the group.

La fotografia live istant come dispositivo costruttivo di booty Looting di Wim Vanderkeybus.

2017 ◽  
Vol 1 (1) ◽  
Author(s):  
Arianna Novaga
Keyword(s):  
False Memories ◽  
Art World ◽  
The Real ◽  
Photographic Image ◽  
Dance Company ◽  
Susan Sontag ◽  
Live Music ◽  
The One ◽  
Venice Biennale

The Belgian theatre-dance company Ultima Vez – founded by the director and choreographer Wim Vandekeybus – presented Booty Looting in 2012, at the Venice Biennale Danza. On the stage, a complex and apparently disordered narrative rhapsody, brings into play complementary diegetic coefficients: while a story straddles the real and the imaginary, the dancers become consumed actors, the actors dance and live music fills the empty spaces. But the real beating heart of the show is the photographer, who is entrusted with the delicate task of deciphering the feverish dynamism of the scene to move the public's attention elsewhere, as if to give them a relaxing break from the chaos. The photographic image, taken and reported in real time on the screen at the bottom of the stage, freezes some salient moments of that convulsive movement, almost to break it down anatomically into parts of a 'muybridgian' conception. The photographer, always active during the representation, is an integral part of the story, becoming a performer himself so that his intervention determines the dramaturgical development of the plot. The visual quality of the scene is strongly enhanced by live photographic images, which are often attributable to known visual models. Booty looting literally means stealing what has already been the object of theft, exactly as it happens in the art world, according to the perspective of Vandekeybus. Photography is seen here as an instrument that on the one hand makes it useful to prove the reality of facts, but at the same time declares its ability to lie, to deform memory, to create false memories, to become misleading echoes of experiences actually lived. Between truth and deceit, the photographic image plunders the world and gives us the feeling of being able to know and know it in depth - as Susan Sontag teaches - but it is only a distorted memory that confuses and falsifies the real.

A survey of social entrepreneurial community-based hospitality and tourism initiatives in developing economies

2014 ◽  
Vol 6 (1) ◽  
pp. 51-61 ◽  
Author(s):  
Philip Sloan ◽  
Willy Legrand ◽  
Claudia Simons-Kaufmann
Keyword(s):  
Developing Economies ◽  
Negative Effects ◽  
Social Entrepreneurs ◽  
Community Based ◽  
Content Type ◽  
Cultural Traditions ◽  
Developed Economies ◽  
Positive Effects ◽  
Entrepreneurial Management ◽  
Hospitality And Tourism

Purpose – The aim of this paper is to report on preliminary research conducted in seven sustainable hospitality and tourism operations set in developing economies which use the principles of social entrepreneurship. The applicability of community-based social entrepreneurial management systems as a means of fostering socio-economic development is analysed. Design/methodology/approach – Online contacts were first made with the selected destinations, who were asked to supply written reports on selected criteria. Purposive sampling was employed, whereby the criteria chosen for analysis were based on characteristics believed to be representative. Analysis of the reports was based on the meaning of words, in particular, in finding commonalities and differences in themes approached by each respondent. Findings – Preliminary conclusions show that the positive effects of employing local indigenous people in these projects far outweigh some negative aspects. Employment possibilities leading to improved living standards have resulted in each case. Local cultural traditions have been maintained and only in a few cases were examples of the negative effects of tourism reported. Research limitations/implications – The findings of this research are limited to a small selection of community-based social entrepreneurial hospitality and tourism projects in developing economies, thus, cannot be applied to similar projects in developed economies, where social and economic factors are considerably different. Originality/value – In developing economies, social entrepreneurs can draw on the success of the projects analysed in this paper for the creation of new, similar ventures. In developed economies, hospitality and tourism businesses wishing to pursue a more socially caring form of development can gain inspiration.

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