a
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n
the
artists
information
company
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18
signpost
engaged practice
A project’s participantsmay not necessarily ‘feel
better’ or have had ‘fun’ doing it. Sometimes, they
end up feeling bemused, confused or disheartened
by a situation inwhich an artist has caused them to
question their beliefs andmotives. Thus, artists need
to approach people-centredworkingwith sensitivity,
andmanage the impact their practice can have on
people’s lives. This includes guarding against creating
dependency amongst participants and devising
suitable exit strategies.
Read the full article, available to a-n Subscribers,
.
Working with people
your artist’s skills are valuable and can be applied in community, outreach and
educational projects.
organisations ranging from national galleries to local community centres all
employ artists to share their skills, often in the form of leading workshops
and practical activities.
Choosing to expand your practice in this way can be incredibly rewarding.
Artist Sam gorman has been working in educational and community contexts
for over ten years.
“Studio practice can be very solitary. Artists are communicators and it’s
important to keep in touch with people. I’ve seen people lose themselves in
art – they remember how to dream and be creative.
“Artists working in schools can add balance to the curriculum where art is
often not a high priority. After one workshop a child said to me: ‘This is the
best day I’ve ever had!’”
Read the full article, available to a-n Subscribers only,
.
a-n’s Director,
Susan Jones
,
on artists who engage with
the public.
rosemary Shirley
offers
some tips.
Don’t wait for your ship to come
in, swimto it.
GraemeVaughan