I am really pleased to be able to share this extremely powerful, thought-provoking guest blog by Rosie Priest. It’s a personal account of how art can be part of everyday life as well as a challenge to the superficial rhetoric of institutional art as a vehicle for “transformative change”.
Rosie Priest is a PhD candidate at the University of Stirling, working with the National Galleries of Scotland’s outreach programme to explore “Collaborative Art and Transformation”, whilst also working as the Creative Learning Associate for Stellar Quines Theatre Company.
This is a revised version of Duty Now for the Future – an article commissioned by Collecteurs NY to help launch its SUBSTANCE 100 initiative. The original article was written before the COVID-19 pandemic swept through the UK , Europe and the USA. Duty Now for the Future 2.0 is a call for everyone in the art world to finally wake up to our responsibilities in a world there can be no going back to the crass inequity of our lives before Corona virus.
This is my paper which I presented at the Northumbria-Sunderland AHRC Centre for Doctoral Training Art and Design Research Annual Conference at the BALTIC Centre for Contemporary Art, Gateshead on 25th July 2017. Powerpoint and PDF versions can be downloaded here too…
Artists and arts organisations have always skirted the edges of gentrification.… READ MORE
This is a little part of a draft section of my PhD thesis. It examines Creative People and Places, particularly, their People, Place, Power: Increasing Arts Engagement conference, suggesting empowerment may not be all it’s cracked up to be, especially when ‘delivered’ by state-sanctioned, instrumentalising arts organisations and artists – the foot soldiers of state social art provision…
This was my prosecution witness statement from the excellent Participation on Trial event organised by the lovely Chrissie Tiller and Goldsmiths from May 2015.
think it remains as relevant to me as it did more than a year ago but I would say that I was a little over-generous in my support for socially engaged art – a term now so completely appropriated by the Institution of Art that it effectively is THE SAME AS participatory art. … READ MORE
I claim socially engaged art is DEAD. (Whether it ever lived or even existed beyond a category description is, of course, another question.) The Art World is DEAD. So, when the Art World subsumes the category description “socially engaged art” (and “social practice” and many more, for that matter) it must KILL the category description – the words.… READ MORE
Ken Saro-Wiwa Memorial Bus, large format digital print, part of Doing Nothing is Not an Option, Michael McMillan and Platform London, Peckham Platform, 2015
I was, like Anthony Schrag (and others I know), infuriated by the recent ArtWorks Conversation at BALTIC 39. Anthony has written a little about the pairing of Ilana Mitchell (Wunderbar and other things) and Darren O’Donnell (Mammalian Diving Reflex) today in a piece entitled The Value Rant, but his rant was not at them and not (directly) at ArtWorks or their ‘critical conversations’. … READ MORE
There’s a debate within socially engaged arts about whether this unique form of practice should resist incorporation into institutions, galleries, museums, etc. or are these ‘managed’ spaces best placed to support, to provide a home for our work. The debate is taking place in some countries. The US are leading the way.… READ MORE
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