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Journal articles on the topic 'Community art'

Author: Grafiati
Published: 4 June 2021
Last updated: 15 June 2025

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1

Havnesköld, Grete, and Johanna Thor. "Community art." DRAMA 61, no. 1 (2024): 36–41. http://dx.doi.org/10.18261/drama.61.1.7.

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2

Bates, Mo. "Communising Community Art." Circa, no. 27 (1986): 26. http://dx.doi.org/10.2307/25557063.

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3

Aman, Ronald. "Community and Community-based Art Making." International Journal of the Arts in Society: Annual Review 4, no. 5 (2010): 29–42. http://dx.doi.org/10.18848/1833-1866/cgp/v04i05/35734.

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4

Hannigan, Shelley Margaret. "Turning community stories into community art." International Journal of Education Through Art 8, no. 2 (2012): 135–50. http://dx.doi.org/10.1386/eta.8.2.135_1.

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5

Hannigan, Shelley. "Turning community stories into community art1." International Journal of Education Through Art 20, no. 1 (2024): 101–16. http://dx.doi.org/10.1386/eta_00154_1.

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A broad range of community art projects and programmes have been documented around the world since I first reported on this project in 2012. However, it still remains that lack of time and/or funding means that most art teachers are unable to engage in community arts or generate resources and opportunities to teach community arts. This means that unless community art projects directly engage schools and teachers in their projects and time is put aside for students and teachers to go on excursions, visit sites and engage with these communities, there are few opportunities for students to engage in community arts-based learning. This article reports on an innovative community art project that engaged narrative, and sculptural form, as a way of learning about community, place and identity. The project is explained from the perspective of an art educator, researcher and artist who was employed in the project both as community artist and as facilitator. This ‘insider’s perspective’ aims to afford some context to relevant theories through which such projects can be understood as potentially beneficial to art education – particularly in the way people have used narrative to communicate issues of place and the ways in which artists have translated community narratives into sculptural form. The author’s insider perspective offers insight into this project to share how a community art project could be designed and facilitated for students to engage in their local region and therefore a way forward for teachers and students to engage in something similar, to learn about how community stories can be translated into contemporary art, and the important role of place and identity in this work.
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6

Eden, Alice Anne. "Enchanted Community." Exchanges: The Interdisciplinary Research Journal 6, no. 1 (2018): 44–88. http://dx.doi.org/10.31273/eirj.v6i1.252.

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This article is a scholarly reflection on a recent collaborative art project entitled Enchanted Community, which took place in Coventry and Leamington, 1 May - 31 July 2017. The project sought to communicate art historical scholarship to the wider community through innovative methods: using art and craft activities combined with education, inter-disciplinary framing and collaborative working. Experiences of communicating art historical research and engaging the public with regard to the themes of art and enchantment were both rewarding and surprising. The article summarises the key aspects of the project: its events, outcomes, challenges and successes including outputs and feedback statements from attendees. The article is framed by a number of scholarly perspectives. I survey historical ideas of art and enchantment which inspired the project. I also consider academic debates concerning outreach, public engagement, community art activities and impact through the arts and humanities. The project provided the opportunity to reflect on these areas of historical scholarship alongside methodological issues while developing pathways and contacts for further activities.
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7

Park, Ahram, and Lalitha Vasudevan. "Remaking Community With Art." Journal of Adolescent & Adult Literacy 64, no. 5 (2021): 589–93. http://dx.doi.org/10.1002/jaal.1138.

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8

de Stecher, Annette. "The Art of Community." RACAR : Revue d'art canadienne 42, no. 2 (2018): 54–71. http://dx.doi.org/10.7202/1042946ar.

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La nation huronne-wendat de Wendake (Lorette, Québec) a maintenu sa culture et son identité pendant des siècles, souvent en dépit de, et en résistance contre les pressions occasionnées par la présence missionnaire et les politiques coloniales. Cette survivance est tributaire de savoirs, de valeurs et de coutumes transmis de génération en génération. Cet article explore l’art de la communauté wendat et ses éléments constitutifs : la fabrication d’objets, la tradition orale, l’engagement actif des membres de la collectivité dans les pratiques traditionnelles, ainsi que l’adaptation des pratiques ancestrales aux préoccupations actuelles. Il montre comment la production artistique wendat, dans sa force expressive, contribue à la continuité et cohésion sociale de la nation wendat.
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9

Flajsig, Maja, Nevena Škrbić Alempijević, and Josip Zanki. "Art in the Community." Ethnologia Fennica 48, no. 1 (2021): 56–77. http://dx.doi.org/10.23991/ef.v48i1.101739.

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This article discusses the culture-making and place-making initiatives created at the intersection of ethnology and cultural anthropology, art and cultural politics. The focus is on the ways in which joint ethnological and artistic involvement can change the dynamics within the local community. As a case study the authors use the project Art in the Community: Redefining Heritage of the Association of Artists ‘Zemlja’ (Croatia, 2018 – 2020). The project was based on one of the most important episodes of socially and politically engaged artistic practices in Central Europe and Western Balkans: the legacy of the Association of Artists Zemlja (1929 – 1935), and naïve art and educational work of renowned painter Krsto Hegedušić. In the locality where they had worked and found inspiration – Hlebine – contemporary artists rethought their heritage and brought it to life through this project. The project was based on participatory approaches, artistic and community-empowering process that included local naïve artists from Hlebine and students of Visual Arts and Ethnology and Cultural Anthropology from Zagreb. The text analyses the potentials and challenges in working with different stakeholders on the region’s cultural scene who take part in the project in order to affirm, negotiate or redefine their culture-building strategies.
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10

Coutts, Glen, and Timo Jokela. "Special Issue: Community art." International Journal of Education Through Art 8, no. 3 (2012): 217–20. http://dx.doi.org/10.1386/eta.8.3.217_2.

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11

Siegel, Wilma Bulkin, and Mary Anne Bartley. "Art and Community Health." Holistic Nursing Practice 18, no. 2 (2004): 95–97. http://dx.doi.org/10.1097/00004650-200403000-00007.

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12

Cottis, Sally. "Art work, art share: Community care in action." Journal of Social Work Practice 4, no. 1 (1989): 54–61. http://dx.doi.org/10.1080/02650538908413412.

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13

Salwa, Mateusz. "Community gardens as public art." Aisthesis. Pratiche, linguaggi e saperi dell’estetico 15, no. 1 (2022): 41–53. http://dx.doi.org/10.36253/aisthesis-13658.

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The aim of the article is to discuss community gardens as works of public art. Even if artistic status of gardens has been widely recognized, it is usually taken into account when historic gardens and parks or works of contemporary landscapes architects are concerned. However, there are good reasons to approach community gardens as artworks, as well. First, aligning community gardens with contemporary art is honorific, in the sense that it shows that they may be considered in another way than seeing them only as vernacular art, significant because of its social and political dimension. Second, in spite of their allegedly edenic character, community gardens are very often contested spaces, while the conflicts may be sparked by, among other things, the community garden aesthetics. In order to recognize community gardens as art it is useful to refer to new genre public art and not to “paradigmatic arts” such as architecture or painting.
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14

Cohen, Arthur M. "Art Education in Community Colleges." Studies in Art Education 29, no. 4 (1988): 250. http://dx.doi.org/10.2307/1320929.

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15

Ulbricht, J. "Learning about Community Art Behaviors." Art Education 55, no. 5 (2002): 33. http://dx.doi.org/10.2307/3193956.

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16

Ellis, Anne. "The Art of Community Conversation." Theatre Topics 10, no. 2 (2000): 91–100. http://dx.doi.org/10.1353/tt.2000.0010.

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17

Timm-Bottos, Janis. "ArtStreet: Joining Community through Art." Art Therapy 12, no. 3 (1995): 184–87. http://dx.doi.org/10.1080/07421656.1995.10759157.

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18

Gilmore, Jason. "Community Art as Shadow Work." Jung Journal 13, no. 3 (2019): 47–50. http://dx.doi.org/10.1080/19342039.2019.1636454.

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19

Lowe, Seana S. "The Art of Community Transformation." Education and Urban Society 33, no. 4 (2001): 457–71. http://dx.doi.org/10.1177/0013124501334008.

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20

Webb, Jen. "Art and the ideal community." Journal of Australian Studies 23, no. 60 (1999): 140–43. http://dx.doi.org/10.1080/14443059909387460.

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21

Gulbahce, Natali, and Sune Lehmann. "The art of community detection." BioEssays 30, no. 10 (2008): 934–38. http://dx.doi.org/10.1002/bies.20820.

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22

McConaghy, Robyn. ""Community" Art by Robyn McConaghy." Questions: Philosophy for Young People 23 (2023): 49. http://dx.doi.org/10.5840/questions20232329.

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23

Rowland, Dia. ""Community" Art by Dia Rowland." Questions: Philosophy for Young People 23 (2023): 37. http://dx.doi.org/10.5840/questions20232323.

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24

G., Sarah. ""Community" Art by Sarah G." Questions: Philosophy for Young People 23 (2023): 16–17. http://dx.doi.org/10.5840/questions20232311.

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25

Pasalic, Mina. ""Community" Art by Mina Pasalic." Questions: Philosophy for Young People 23 (2023): 64. http://dx.doi.org/10.5840/questions20232334.

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26

Linster, Josie. ""Community" Art by Josie Linster." Questions: Philosophy for Young People 23 (2023): 43. http://dx.doi.org/10.5840/questions20232325.

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27

Kim, Hyungsook. "Community and art: creative education fostering resilience through art." Asia Pacific Education Review 16, no. 2 (2015): 193–201. http://dx.doi.org/10.1007/s12564-015-9371-z.

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28

Patel, Aarav. "Role of Public Art in Community Development." American Journal of Arts, Social and Humanity Studies 4, no. 2 (2024): 47–57. http://dx.doi.org/10.47672/ajashs.2358.

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Purpose: The aim of the study was to assess the role of public art in community development. Materials and Methods: This study adopted a desk methodology. A desk study research design is commonly known as secondary data collection. This is basically collecting data from existing resources preferably because of its low cost advantage as compared to a field research. Our current study looked into already published studies and reports as the data was easily accessed through online journals and libraries. Findings: The study indicated that public art can act as a catalyst for community engagement, bringing together diverse groups of people and encouraging collective participation in community activities. It often reflects the unique cultural heritage of a community, helping to strengthen local identity and pride. Additionally, public art installations can attract tourism and investment, boosting local economies. They also improve the aesthetic appeal of public spaces, making them more inviting and conducive to social interactions. In urban settings, public art contributes to placemaking, creating landmarks and gathering spots that become central to community life. Moreover, it has been observed that public art projects can inspire local creativity and innovation, providing opportunities for local artists and fostering a sense of ownership and involvement among residents. Overall, the presence of public art in a community is a powerful tool for promoting social, cultural, and economic development. Implications to Theory, Practice and Policy: Social capital theory, place attachment theory and cultural policy theory may be used to anchor future studies on assessing the role of public art in community development. From a practical standpoint, integrating public art into community development projects requires a multifaceted strategy that emphasizes collaboration among stakeholders. On the policy front, there is an urgent need for governments to prioritize public art as a vital component of urban planning and community development agendas.
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29

St-Onge, David. "Robotic Art Comes to the Engineering Community [Art and Robotics]." IEEE Robotics & Automation Magazine 26, no. 3 (2019): 103–4. http://dx.doi.org/10.1109/mra.2019.2927198.

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30

Sharpe, Patricia A. "Community-based physical activity intervention." Arthritis & Rheumatism 49, no. 3 (2003): 455–62. http://dx.doi.org/10.1002/art.11054.

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31

Bélanger, Stéphanie A. H., David Pedlar, and Dianne Groll. "Celebrating art in the military community." Journal of Military, Veteran and Family Health 8, no. 2 (2022): 1–2. http://dx.doi.org/10.3138/jmvfh-2021-8-2-01.

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32

Shin, Hayarn. "Art Philosophy Implications of Community Dance." Journal of Humanities and Social sciences 21 12, no. 5 (2021): 1787–800. http://dx.doi.org/10.22143/hss21.12.5.126.

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33

Hadland, Rachel, and Theodore Stickley. "Community art project for excluded teenagers." Mental Health Practice 13, no. 6 (2010): 18–23. http://dx.doi.org/10.7748/mhp.13.6.18.s20.

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34

Eden, Alice, and Alice Eden. "Art, Scholarship, Community: Experiences of Viewing." Exchanges: The Interdisciplinary Research Journal 4, no. 2 (2017): 232–43. http://dx.doi.org/10.31273/eirj.v4i2.162.

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This critical reflection originated in a visit to the ‘Artists and Academics’ exhibition held at Fargo Creative Village, Coventry, 26 November 2016. My thoughts about the exhibition have served as a springboard to consider ideas of scholarship, art and community more broadly. I use my research on British artists from the early twentieth century, their ideas about the processes of viewing art and the spiritual in art, to discuss examples in the exhibition. I conclude by considering how this collaborative event can bring academic ideas into conversation with artworks. I suggest that the resulting exchanges may enable viewers to think differently about art and scholarship as well as enrich academic practice.
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35

Ulbricht, J. "What is Community-Based Art Education?" Art Education 58, no. 2 (2005): 6–12. http://dx.doi.org/10.1080/00043125.2005.11651529.

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36

Song, Young Imm Kang. "Community Participatory Ecological Art and Education." International Journal of Art & Design Education 28, no. 1 (2009): 4–13. http://dx.doi.org/10.1111/j.1476-8070.2009.01588.x.

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37

Eglinton, Kristen Ali. "Art, Community and Environment: Educational Perspectives." International Journal of Art & Design Education 28, no. 3 (2009): 321–22. http://dx.doi.org/10.1111/j.1476-8070.2009.01616.x.

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38

Bala, Sruti. "Community art: the politics of trespassing." Research in Drama Education: The Journal of Applied Theatre and Performance 17, no. 1 (2012): 127–29. http://dx.doi.org/10.1080/13569783.2012.649000.

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39

van Erven, Eugene. "The tension between community and art." Research in Drama Education: The Journal of Applied Theatre and Performance 20, no. 3 (2015): 407–10. http://dx.doi.org/10.1080/13569783.2015.1059748.

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40

Zorich, Diane M. "Digital Art History: A Community Assessment." Visual Resources 29, no. 1-2 (2013): 14–21. http://dx.doi.org/10.1080/01973762.2013.761108.

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41

Petouris, Thanos. "Yemen: ‘international community’ where art thou?" Political Quarterly 89, no. 3 (2018): 519–20. http://dx.doi.org/10.1111/1467-923x.12538.

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42

Lampert, N., and R. Deal. "Watershed: Art, Activism, and Community Engagement." Radical History Review 2013, no. 116 (2013): 147–58. http://dx.doi.org/10.1215/01636545-1965829.

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43

Ortiz, Michelle Angela. "Amplifying Community Voices through Public Art." Community Literacy Journal 14, no. 2 (2020): 25–37. http://dx.doi.org/10.1353/clj.2020.a772118.

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44

Oram, Jon. "The Art of the Community Play." Canadian Theatre Review 90 (March 1997): 5–9. http://dx.doi.org/10.3138/ctr.90.001.

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CTT [Colway Theatre Trust] wants to help communities create a work of art. Others might simply wish to produce a community event. Why the insistence on art? If I am an artist trying to help people share my vision, or even just asking for money, I find I frequently have to justify myself.
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45

Gunckel, Colin. "Art and Community in East LA." Aztlán: A Journal of Chicano Studies 36, no. 2 (2011): 157–70. http://dx.doi.org/10.1525/azt.2011.36.2.157.

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46

Shimada, Yoshiko, and William Marotti. "Art at the Limits of Community." Review of Japanese Culture and Society 33/34, no. 1 (2021): 93–101. http://dx.doi.org/10.1353/roj.2021.a919562.

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47

Lawton, Pamela Harris. "At the Crossroads of Intersecting Ideologies: Community-Based Art Education, Community Engagement, and Social Practice Art." Studies in Art Education 60, no. 3 (2019): 203–18. http://dx.doi.org/10.1080/00393541.2019.1639486.

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48

Kim, Dogeun, and Kweonyeong Lee. "The Impact of Community Art Activists" Authenticity on the Performance and Effect of Community Art Projects." Journal of Internet Electronic Commerce Resarch 22, no. 6 (2022): 277–97. http://dx.doi.org/10.37272/jiecr.2022.12.22.6.277.

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49

Abd- El Aziz Al-Heezan, Abdullah. "Community-Based can impact the status of art education in Saudi Arabia “Community-Based Art Education”." International Journal of Education and Learning Research 5, no. 2 (2022): 35–54. http://dx.doi.org/10.21608/ijelr.2022.296896.

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50

Hyungsook Kim. "Community-based Art Education in Minjung Art Movement: A Study on the Modern Origin of Community-based Art Education in Korea." Journal of Research in Art Education 14, no. 1 (2013): 95–114. http://dx.doi.org/10.20977/kkosea.2013.14.1.95.

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