A problem of scale and leadership? Manchester’s municipal ambitions and the ‘failure’ of public spirit

2018 ◽  
pp. 190-220
Author(s):  
James Moore
Keyword(s):  
Institution Building ◽  
Art World ◽  
Art Gallery ◽  
Community Based ◽  
The Public ◽  
Institutional Infrastructure ◽  
Community Based Art ◽  
Art Community ◽  
New City ◽  
Manchester School

The 1870s and 1880s saw the Manchester art world arguably reach its cultural zenith. The rise of the proto-Impressionist ‘Manchester school’, the municipalisation of the Royal Manchester Institution building and the plans for a new city gallery produced an art community and institutional infrastructure second to nowhere in England, except London. However such progress concealed a growing disagreement about the purpose of municipal art institutions. As attendance at exhibitions fell, critics questioned the ability of large galleries to engage the public and called for more community-based art initiatives. The crisis point was reached when proposals for a new city art gallery in Piccadilly Square fell foul of Conservative and Labour opposition. At a time of economic slump, had art become an expensive luxury?

The rise and fall of the municipal art gallery movement? The public and private dimensions of local civic art

2018 ◽  
pp. 251-289
Author(s):  
James Moore
Keyword(s):  
Nineteenth Century ◽  
Public Art ◽  
Practical Purpose ◽  
Small Towns ◽  
Art World ◽  
Art Gallery ◽  
Public And Private ◽  
Art Collections ◽  
The Public

By 1914 most Lancashire towns, including many small towns, maintained an art gallery at municipal expense. The origins and practical purpose of these galleries were more diverse than one might imagine. Yet, by 1914, the Lancashire art world faced something of a crisis. The generation of great Lancastrian patrons seemed to be receding. Modern revisionist thinking viewed many of Lancashire’s Victorian public art collections as outdated. The grand galleries of the nineteenth century were expensive to maintain and often poorly attended. This final chapter examines the reasons for this crisis and the way some innovative thinkers attempted to respond.

scholarly journals Art in the Digital during and after Covid: Aura and Apparatus of Online Exhibitions

2020 ◽  
Vol 12 (5) ◽  
Author(s):  
João Pedro Amorim ◽  
◽  
Luís Teixeira ◽  
Keyword(s):  
Contemporary Art ◽  
New Technologies ◽  
Art World ◽  
Art Gallery ◽  
Digital Platforms ◽  
The Public ◽  
Alternative Materials ◽  
Digital Reproduction ◽  
Mega Event ◽  
The Impact

The public health measures that were put in place to contain COVID-19 impacted the lives of people and institutions alike. For its global impact and transformation, the pandemic has the potential to be classified as a mega-event. Such radical events have become great opportunities to the testing of new technologies and forms of organisation, (Masi, 2016) that might in the future become prevalent. The impact of the pandemic was particularly felt in the contemporary art world, as the entire cultural activity was suspended. During this period, art institutions and collectives around the world reacted by adapting and providing alternative materials online. This paper aims at reflecting upon the challenges facing the exhibition of contemporary art online. Following Boris Groys’ (2016) actualisation of Walter Benjamin, we problematise how the digital reproduction of art affects the aura of an artwork. Proposing a critique of the apparatus of digital platforms, we analyse how the digital reproduces and enhances ideological structures that overpass the whole of society. For that purpose we analyse how four different organisations (an artist-run space, an art gallery, a museum and an art biennale) have migrated their activity to online platforms. The case-studies will allow a broad understanding of the different approaches available – with some radically taking advantage of the digital environment, and others merely digitising the role taken henceforth by printed catalogues.

1. The Neoliberal Logic of Service-Learning

2020 ◽  
Vol 2 (1) ◽  
pp. 1-18 ◽  
Author(s):  
Megan Snider Bailey
Keyword(s):  
Higher Education ◽  
Service Learning ◽  
Teaching And Learning ◽  
Community Partnerships ◽  
Market Forces ◽  
Community Based ◽  
University Partnerships ◽  
Economic Changes ◽  
The Public ◽  
The Relationship

<?page nr="1"?>Abstract This article investigates the ways in which service-learning manifests within our neoliberal clime, suggesting that service-learning amounts to a foil for neoliberalism, allowing neoliberal political and economic changes while masking their damaging effects. Neoliberalism shifts the relationship between the public and the private, structures higher education, and promotes a façade of community-based university partnerships while facilitating a pervasive regime of control. This article demonstrates that service-learning amounts to an enigma of neoliberalism, making possible the privatization of the public and the individualizing of social problems while masking evidence of market-based societal control. Neoliberal service-learning distances service from teaching and learning, allows market forces to shape university-community partnerships, and privatizes the public through dispossession by accumulation.

From IRL (in-real-life) to URL: Capturing the art biennial amid COVID-19

2021 ◽  
Vol 8 (2-3) ◽  
pp. 291-311
Author(s):  
(Gwen) Kuan-ying Kuo
Keyword(s):  
Real Life ◽  
Art World ◽  
The Public ◽  
Global Pandemic ◽  
International Exhibitions ◽  
Art Scene ◽  
Before And After ◽  
The Face ◽  
The Taiwan Strait ◽  
Potential Shifts

In early 2020, the unforeseen COVID-19 has brought the art world to its knees, particularly the contemporary art scene needs viewers and feedback to survive. Artists require new channels connecting them with their audiences, while artists’ work needs to be seen and appreciated by the public to sustain its value. In the face of social distancing restrictions and limited visitors, however, many international exhibitions are forced to cancel or postponed. With less to no patronage, will the global pandemic bring the end of the art world? As the global pandemic has forced most social and cultural events moving online, the art biennials are no exception. This article examines the art biennial, the Olympics of the art world, to rediscover the meaning of ‘art’ before and after COVID-19. Integrating virtual presentation and digital campaign between the Taipei Biennial and the Shanghai Biennale, the first running art biennials across the Taiwan Strait, this article analyses and presents the art world’s potential shifts in the post-pandemic future.

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.

National Foresight in Korea: History of Futures Studies and Foresight in Korea

2018 ◽  
Vol 11 (3) ◽  
pp. 232-244
Author(s):  
Kyungmoo Heo ◽  
Yongseok Seo
Keyword(s):  
National Development ◽  
Futures Studies ◽  
Government Officials ◽  
Community Based ◽  
Public Interests ◽  
Public And Private ◽  
National Assembly ◽  
The Public ◽  
History Of

Public interests in coming futures of Korea continue to be increasing. Fears on uncertainties and pending challenges as well as demands on a new but Korea-own development model trigger a quantitative increase of futures research and relevant organizations in both public and private. The objective of this paper is to review history of futures studies and national development plan and strategy linked with foresight along with its challenges and recommendations. This paper identifies drawbacks and limits of Korea foresight such as misapplication of foresight as a strategic planning tool for modernization and economic development and its heavy reliance on government-led mid- and long-term planning. As a recommendation, an implementation of participatory and community-based foresight is introduced as a foundation for futures studies in Korea. A newly established research institute, the National Assembly Futures Institute, has to be an institutional passage to deliver opinions of the public, a capacity-building platform to increase the citizen’s futures literacy, and a cooperative venue for facilitating a participation and dialogue between politicians, government officials, and researchers.

scholarly journals An Investigation into the Implementation Processes of Ghana’s Primary Health Care Strategy: The Community-Based Health Planning and Services Programme.

2021 ◽  
Author(s):  
Matthew Kwame Edusei ◽  
Kofi Bobi Barimah ◽  
Samuel Kwadwo Asibuo
Keyword(s):  
Health Planning ◽  
Exploratory Research ◽  
Community Based ◽  
Policy Makers ◽  
Implementation Challenges ◽  
The Public ◽  
Implementation Processes ◽  
Health Goals ◽  
Health Strategy ◽  
District Assemblies

Abstract Background: Ghana has adopted the community-based health planning and services (CHPS) programme as the public health strategy for meeting its universal health goals. The programme is facing implementation challenges that are affecting its expansion within the communities. This research was undertaken to examine the implementation processes of CHPS and suggest solutions to improve its scaling-up within the communities.Method : An exploratory research design was used with a mixed method approach that involved the testing of a hypothesis. Results : The study found that in places with on-going CHPS programmes, there is statistically significant (p<0.001) evidence that the implementation processes are not flawed. However, the district assemblies were selective in the allocation of CHPS zones within the communities. Conclusion : Chieftaincy conflicts within the communities are impeding the community entry aspect of the CHPS policy implementation processes and needs to be addressed by policy makers in the relevant government agencies.

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