Archive for ‘Context and Audience’

January 7, 2016

Artists need to stick their necks out: Exclusive interview with The #GlasgowEffect’s Ellie Harrison


January 4, 2016

Arts the Catalyst, The Craigmillar Story

Arts the Catalyst, The Craigmillar Story from Plum Films on Vimeo.

January 4, 2016

Trails + Tales


November 18, 2014

Yoko Ono – Cut Piece (1965)

January 7, 2014

Sanitation Department Artist in Residence Mierle Laderman Ukeles

Ukeles--PortraitHere, artist Mierle Laderman Ukeles. Since 1977 she has been the artist in residence of the New York City Department of Sanitation, which is a nonsalaried position. Ukeles is currently working on a piece for Fresh Kills, the former landfill in Staten Island that is being turned into a park. more

January 7, 2014

The Artist Placement Group (APG)

homepageimg-1The Artist Placement Group (APG) emerged in London in the 1960s. The organisation actively sought to reposition the role of the artist within a wider social context, including government and commerce, while at the same time playing an important part in the history of conceptual art during the 1960s and 1970s. The Observer journalist, Peter Beaumont, has described the APG as ‘one of the most radical social experiments of the 1960s’. more

January 25, 2013

“Grazing Horses” Canter Into Grand Central Terminal This March


Over a year ago, the art world was lit up by a mesmerizing gallery show from the artist Nick Cave. For Now at the Mary Boone Gallery in Chelsea featured Cave’s “daring and iconic Soundsuits – hybrid sculptural forms based on the scale of the Artist’s body,” which he called a “psychedelic, functified freak show that is an accumulation of the decades from the perspective of voodoo woo-loo.” Now, in just two months, he’ll have his first public art installation at Grand Central Terminal. more

January 11, 2013

Marcus Coates


‘…you can’t escape your humanness, but the point of my work has been to explore the degrees to which you can test that boundary and entertain the possibility of becoming something else.’ more

January 10, 2013

Slinkachu’s street art, ‘Concrete Ocean’


The street artist known only as Slinkachu has been abandoning little people on the streets of London since 2006.  His first project, ‘Little People in the City’, saw minature men, women and children living their lives on the streets of London and was immortalised in the 2008 book entitled Little People in the City”. Since then, Slinkachu has done a number of other projects, notably ‘Whatever Happened to the Men of Tomorrow’ which documented the decline of a tiny, middleaged and balding super-hero on the streets of London and ‘Inner City Snail – a slow moving street art project’ which saw Slinkachu ‘customising’ a number of London snails which then presumably went about their business none the wiser. more

January 10, 2013

Cowcaddens, 1950s (Burrell Collection Photo Library)


Photograph taken from city centre looking north to Cowcaddens, c 1950s.

Cambridge Street is in the foreground, and its junction with Hill Street is bottom left. Phoenix Park is visible through the smog in the middle distance, with Buchanan’s Confectionery Works and its distinctive chimney stalk (demolished in 1967) to the right. more

January 10, 2013

Ruth Barker: Cowcaddens Underpass


Once it was infamous for its graffiti, but the Cowcaddens underpass has been transformed with a series of screen prints by artist, Ruth Barker.

The Cowcaddens pedestrian underpass, recognised as a key link point between Glasgow City Centre and the Canal, is now home to a new artwork that aims to raise awareness of the ongoing regeneration of the canal.

Called “The shores of the familiar”, Ruth Barker’s artwork has radically altered the Cowcaddens underpass, making it a much more effective and attractive route
between the canal and the city. more

January 31, 2012

Marcus Coates: Shamanism and anthropomorphism; public art and ‘getting back to nature’

‘Why do cats understand what you say?’ ‘Where does hair go when you go bald?’ ‘How can the city control illegal bicycle parking?’ These are just some of the questions that Marcus Coates has attempted to answer by descending into the ‘lower world’ and consulting the birds and animals that he encounters there. Usually they respond in cryptic clues; uncharacteristic behaviour is what he is looking out for, which he then does his best to interpret for his audience on his return. more…..

January 19, 2012

Is the future social? Interview with Sonia Boyce


Can you describe the ‘social’ in arts practice and how this concept informed the Future is Social experience?

The interconnectedness of art with the world is important to me. In my formative art training I was taught by feminist artist Margaret Harrison, who placed great value in these connections of where the social content and the aesthetic form meet. Her work, along with other feminist artists of that time, introduced me to the possibility of art making as a comment about, and even having an impact on, the world around us to create a possibility for change.

Re-reading your question, I think you are asking me ‘why’ is the social an important focus for art, and my immediate response is to look back to a moment in art practice which seemed to promise the possibility of art changing our perceptions of social relations and value and political agency (including its aesthetics). I think I still have that utopian ambition. more………….

January 10, 2011

Craigmillar Community Arts

CCA exists to: uncover; encourage; support; promote the artistic talents of the residents of the Greater Craigmillar area of Edinburgh

January 3, 2011

The Royston Road Project

The Royston Road project was a combination of artist-community collaborations and artist-residencies supporting the regeneration of two public spaces in the North of Glasgow.
Artists Graham Fagen and Toby Paterson worked as part of the design team with landscape architects, Loci Design to develop the two spaces into community parks: The Spire Park and Molendinar Park. Located at opposite ends of the “Royston Corridor” the creation of the parks involved local residents and community groups at the various stages of design, development and implementation of ideas. This involvement inspired an ongoing programme of arts and sporting activities and the forming of a community board motivated to continue the momentum generated by the redevelopment of the area. Public Art Scotland

January 2, 2011

What is the city but the people? Jeremy Deller

Jeremy Deller has been working with Tube drivers and operational staff on the Piccadilly line to produce a new work of art – a booklet of quotes entitled What is the city but the people?


What is the city but the people? aims to generate a more positive atmosphere during peak times. It also encourages the many voices of the Tube’s staff to re-enter the environment of the network, bringing some of the personalities that have made it famous to the fore once more. Coming from a wide range of philosophical, political and historical sources, the quotes present a thought-provoking rumination on life in the city, especially when heard on the London Underground.

January 2, 2011

A Conversation with Judy Chicago and Suzanne Lacy

January 2, 2011

Suzanne Lacy – Statement

We implement our mission by producing performances and installations that function as public hearings to advance policy impacting young people; by training adolescents in media literacy and art production that contradicts mass media stereotypes; by forming collaborations between youth, artists, policy makers, and workers in the justice, health, and education systems; and by documenting and distributing our work on television, through public lectures, in galleries, on videotape, and in articles and books. Suzanne Lacy

January 2, 2011

Excerpt from Not Just Garbage

January 2, 2011

Mierle Ukeles: Ecological Restoration

The art of Mierle Laderman Ukeles is about the everyday routines of life. In 1969, after the birth of her first child, Ukeles wrote a Manifesto for Maintenance Art that questioned binary systems of opposition that articulate differences between art/life, nature/culture, and public/private. The manifesto proposed undoing boundaries that separate the maintenance of everyday life from the role of an artist in society. Ukeles was interested in how the concept of transference could be used by artists to empower people to act as agents of change to stimulate positive community involvement toward ecological sustainability.