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Public art - different types of proposals:
Artist initiated Response to a defined brief Response to a broad brief
Artist initiated:
Artist makes a proposal to a venue, collaborator or funder
“I prefer opportunities which are non-prescriptive. I like to respond to an environment in an intuitive way, having time to research before I definewhat the project actually is. Whether it is shed culture, rural location or heritage site”
Lorrice Douglas, ‘Future Forecast’ AN Publications
Response to a defined brief:
Project initiated by an organisation or individual who defines how they want an artist to contribute. The artist makes a proposal in response.
Response to a broad brief:
Project initiated by an organisation or individual who defines broad parameters for an artist’s contribution. A combination between artist initiated and a defined brief
Commissioning - Design idea stage
Who are you dealing with? Where is the commission going to be located? What are the social circumstances related to it? Has the commission got a theme? Proposed budget and timetable?
Aims and Objectives:
Who the project’s audience is How will it benefit the local community? What will be the outcome of the project?-
exhibition, site-specific piece, temporary artwork, environmental, educational, political e.t.c
Practicalities:
Materials and equipment needed Transport requirements Which other parties are involved? Time-scale for ordering/locating
resources Who is responsible for obtaining
insurance cover?
Other considerations: Who pays for it? Private / Public Is your fee inclusive or exclusive of VAT Most permanently-sited public artworks
require planning permission Who is responsible for for maintenance
once the artwork has been completed? Are you developing a project with a
specific audience in mind?
Residencies and placements
Can help to improve the public’s understanding of work. For artists they provide an opportunity to collaborate directly with their audience.
Transferred -Studio
An artist transfers his /her studio to a new site. The artist’s works proceeds more or less as before. Considerable contact with the public will usually be expected ie teaching, lectures and workshops.
Commission
Producing an artwork for a specific site Depending on the commission may or
may not involve public participation.
People-centered residencies
Where artists assist in the creation of a work which is the community’s rather than the artists. Such a residency might be located within a housing estate,community centre, school,prison e.t.c
Potential locations:
Hospitals, health centres Galleries, museums, libraries Prisons Schools, colleges, universities Private businesses, shopping centres Housing estates, community projects Outdoor situations-sculpture trails e.t.c
How does an artwork communicate in particular contexts?
“We are interested in working with patients, staff and visitors, exploring collaborative relationships in the development of new artwork whilst responding to the physical and the social situations within the psychiatric ang general hospital environments”
Functionsuite, Future Forecast, AN Publications
“Most cultural organisations are now seeking a real connection with the people they’re living amongst. Increasingly local councils and other bodies are seeing the potential for partnership with artists. A social space can be almost anything outside a gallery. The parameters continue to dissolve……..”
Richard Layzell, ‘Social Space’ AN Publications
Method / media Murals Sculpture / installation Time-based: performance /intervention,moving
image, web-based Sound-based Publications, newsletters, books e.t.c Mail art Permanent / temporary / site-specific
Shifting perspectives
Do you sacrifice your artistic integrity by moving away from the confines of the studio and gallery and in to the public realm?
Look critically at your practice. Would this residency make a mutually beneficial match?
‘Government agencies and arts funders are accused of using arts to ameliorate social problems when conventional politics have failed raising questions about the impact this has on the quality in the visual arts and the autonomy of artists…’
Becky Shaw, ‘Social Space’, AN publications
How / who validates public art projects?
Feedback from participants-public talks, lectures etc
Reviews from the art community Research projects Being able to stand up to scrutiny by a
non-art going public
“Whether art contributes to social change is widely debated. Rather than delivering social objectives, many artists ‘question’, ‘explore’ or directly ‘challenge’ them. Can this heighten or change our perceptions and expectations of funders and government agencies?”
Future Forecast ‘Matters Arising’, AN Publications
St James C of E Primary School, Handsworth,
Birmingham
Artist in residence mural project
William Rounce, June 1997
I was commissioned by Norlink ( Educational Business Partnership ) to produce an educational mural for a primary school
120 pupils from 4 classes in years 4-6 participated in designing & painting the mural
The mural took 4 weeks to complete
Project Brief
The brief was to produce a 9ft x 9ft mural to be situated within an assembly hall of the school
The main image was based on a map of the approximate pupil catchment area, in the Handsworth district of Birmingham.
I had a budget for £660 to cover labour and material’s costs.
The completed mural without its panels
•The school was situated at the centre
of the map
•Hanging alongside the the lower and
left side of the mural there were a
series of double-sided
interchangeable 20’’ x 20’’ MDF panels.
Six panels representing the religious / multi –cultural diversity of the school’s pupils:
•Christianity• Islam •Buddhism •Sikhism •Hinduism • Judaism
Health & Safety considerations
All MDF was primed The edges of the panels were rounded off All paint used was water-based To prevent injury, screws that didn’t
project out were used instead of hooks to hang the lower panels