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Journal articles on the topic 'Public art engagement'
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1
Carney, Lora Senechal, and Mark G. Chilton. "Art, Architecture, and Processes of Public Engagement." International Journal of the Arts in Society: Annual Review 2, no. 1 (2007): 105–14. http://dx.doi.org/10.18848/1833-1866/cgp/v02i01/35341.
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de Ridder-Vignone, Kathryn D. "Public Engagement and the Art of Nanotechnology." Leonardo 45, no. 5 (October 2012): 433–38. http://dx.doi.org/10.1162/leon_a_00440.
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Nanotechnology art exhibitions provide more than a portal through which to enter the future world of nanotechnology. They also represent the state of nanotechnology in society today. This paper compares three exhibition forums that serve as representations of three of the most common genres of nanotechnology art (nanoart). These exhibition forums and their creators demonstrate distinct perspectives about what counts as engagement and how best to achieve it; they all attempt to persuade their publics that art can serve as a conduit for the creation of alternative nanofutures.
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Calo, Carole Gold. "Interaction and Engagement: Contemporary Trends in Public Art." International Journal of the Humanities: Annual Review 5, no. 10 (2008): 169–78. http://dx.doi.org/10.18848/1447-9508/cgp/v05i10/42253.
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Chatzichristodoulou, Maria. "New Media Art, Participation, Social Engagement and Public Funding." Visual Culture in Britain 14, no. 3 (November 2013): 301–18. http://dx.doi.org/10.1080/14714787.2013.827486.
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Marcal, Helia. "PUBLIC ENGAGEMENT TOWARDS SUSTAINABLE HERITAGE PRESERVATION." Protection of Cultural Heritage, no. 8 (December 20, 2019): 185–210. http://dx.doi.org/10.35784/odk.1084.
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Nowadays, heritage conservators are required to have not only a wide variety of technical but also social and human skills. The shift from a material-based conservation to an approach that focuses on subjects instead of objects (Muñoz Viñas, 2005, p. 147) is a structural approach in contemporary theories of conservation. This tendency towards subjectivity created many possibilities by exposing the multiple perspectives that surround a conservation object. At the same time, it made very clear that conservation objects are contextual and contingent (Clavir, 2009, p. 141). This dichotomy between the tangible and intangible features of a conservation object, however, has been successively overlooked in most conservation endeavours. Prior to the conservation decision-making, institutions usually identified the main stakeholders, with publics and communities being part of that sphere together with owners, artists, and conservators, among others. The decision-making process, however, does not engage with communities in practice. This situation is very problematic for the conservation of cultural heritage objects in general, but it becomes truly hazardous for the preservation of cultural heritage with strong intangible features, such as social artistic practices, ethnographic objects, public art, participatory or performance art or even built heritage, which necessarily involves strong cooperation with communities and artists. After all, to whom are conservators preserving cultural heritage? What is the purpose of conserving cultural heritage for “future generations” if “present generations” are not called to decide in that process? This paper attempts to reflect upon these questions through histories around two buildings in Lisbon that had relevant roles during the Portuguese dictatorship (1933-1974).
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Monk, David, Bruno de Oliviera Jayme, and Emilie Salvi. "The heART of Activism: Stories of Community Engagement." Engaged Scholar Journal: Community-Engaged Research, Teaching, and Learning 5, no. 2 (June 1, 2019): 61–78. http://dx.doi.org/10.15402/esj.v5i2.68335.
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This paper invites the reader to consider the power and potential of art for public engagement, and its use in social movement learning and in demanding the world we want now. The authors frame social movements as important sites of scholarship and learning. They emphasize that by applying creative strategies to engage in critical thought about the nature of the world and one’s position in it, artforms have the potential to make essential contributions to social change. Inspired by literature related to critical art-based learning and learning in social movements, the authors explore representations of protest art and public art exhibitions. They contextualize their writing with stories of mobile art exhibits in Sao Paulo, the ‘maple spring’ in Montreal (Tiotia:ke in the language of the Kanien’kehá:ka), and anti–Bill C-51 protests in Lekwungen territory (Victoria, British Columbia). They present and reflect on their own experiences of using art as engagement and as a representation of voice in public demonstrations.
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Rocks, Claire, Sarah Jenkins, Matthew Studley, and David McGoran. "‘Heart Robot’, a public engagement project." Interaction Studies 10, no. 3 (December 10, 2009): 427–52. http://dx.doi.org/10.1075/is.10.3.07roc.
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Heart Robot was a public engagement project funded by the Engineering and Physical Sciences Research Council (EPSRC). The aim of the project was to challenge cultural perceptions of robots, and to stimulate thought and debate in members of the general public around research in the field of social and emotional robotics. Fusing the traditions of Bunraku puppetry, the technology of animatronics and the field of artificial emotion and social intelligence, Heart Robot presented a series of entertaining, thought-provoking, and moving performances at fourteen events in the south-west region of the UK between May and December 2008. This paper presents a summary of the independent evaluation of the project. Keywords: Robot, Puppet, Public Engagement, Social Robots, Science-art collaboration
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McCormick, Maggie. "The Public Voice." Journal of Public Space 3, no. 2 (August 31, 2018): 5–12. http://dx.doi.org/10.32891/jps.v3i2.1107.
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The Public Voice discusses art and activism in public space through the lens of how art practice is re-territoralising public space. The article begins with a consideration of both commissioned and uncommissioned works that challenge male dominance of public space while retaining a traditional relationship between the artist, art and the public. Through a discussion of ‘relational’ public practices from Relational Aesthetic to Community Art to Social Engagement, the article argues that the kind of ‘relational’ art and activism undertaken by the collectives, teams and individuals featured in this issue of The Journal of Public Space is linked by spatial practice as a conduit for social change. By framing their practice through a discussion around her own spatial public practice over time, the author emphasises the impact of urbanisation and digitalisation on the changing nature of public space and the public and how the public voice can be mapped through art and activism.
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McCormick, Maggie. "The Public Voice." Journal of Public Space, Vol. 3 n. 2 | 2018 | FULL ISSUE (August 31, 2018): 5–12. http://dx.doi.org/10.32891/jps.v3i2.1107.
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The Public Voice discusses art and activism in public space through the lens of how art practice is re-territoralising public space. The article begins with a consideration of both commissioned and uncommissioned works that challenge male dominance of public space while retaining a traditional relationship between the artist, art and the public. Through a discussion of ‘relational’ public practices from Relational Aesthetic to Community Art to Social Engagement, the article argues that the kind of ‘relational’ art and activism undertaken by the collectives, teams and individuals featured in this issue of The Journal of Public Space is linked by spatial practice as a conduit for social change. By framing their practice through a discussion around her own spatial public practice over time, the author emphasises the impact of urbanisation and digitalisation on the changing nature of public space and the public and how the public voice can be mapped through art and activism.
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Snedarova, Jana. "Zlín: Public Art and the City." International Visual Culture Review 1 (December 5, 2019): 43–53. http://dx.doi.org/10.37467/gka-visualrev.v1.2242.
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In this article, the topic of public art in an urban environment of the post-industrial city is viewed in the context of one place – Zlín. Contemporary artworks integrated into the city spaces show the city as a site, in the context of its Modernist architecture and urbanism. They reflect both the past and the present-day changes in society and the way how we see and experience the world. Public art in Zlín has become part of the transformation and regeneration of public spaces fostering the enhancement of the quality of lives of local urban residents. It is evident from the research that Zlín can be perceived as a place with great potential for new art projects and for the public’s participation and engagement.
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Sundstrom, Beth, and Abbey Blake Levenshus. "The art of engagement: dialogic strategies on Twitter." Journal of Communication Management 21, no. 1 (February 6, 2017): 17–33. http://dx.doi.org/10.1108/jcom-07-2015-0057.
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Purpose The purpose of this paper is to explore how the dialogic theory of public relations can help strategic communication practitioners support and enhance the relationship between individuals and organizations. Design/methodology/approach This inquiry applied the dialogic theory of public relations by investigating leading media companies’ context-based strategic use of Twitter. Researchers conducted a qualitative content analysis of 1,800 tweets from 18 top-performing media organizations. Findings This study identified strategies, rooted in dialogic theoretical principles that media organizations used to engage stakeholders. Media companies employed strategies based on dialogic principles, including promoting organizations as industry and thought leaders, integrating social media, and using an interactive, synergistic organizational voice. Research limitations/implications These strategies support the need to expand theoretical conceptualizations and use of dialogic principles to study online communication. Practical implications Findings offer practical strategies for practitioners managing organizations’ Twitter communication to foster engagement. In particular, practitioners should consider organizational context and subsequent content advantages. Originality/value Findings offer practical and theoretical contributions to the debate of interactivity.
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Langdridge, Darren, Jacqui Gabb, and Jamie Lawson. "Art as a pathway to impact: Understanding the affective experience of public engagement with film." Sociological Review 67, no. 3 (January 17, 2019): 585–601. http://dx.doi.org/10.1177/0038026118822822.
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The need for social as well as academic impact in social science research is now well established. Art is increasingly being explored as a means of generating social impact, most commonly as a way to engage publics with research findings, but to date with little exploration of the process of engagement itself. In this study, we set out to explore the power of art to engage the public. We do this by examining the ‘affective’ experience of engagement through a qualitative investigation using one-to-one interviews and a modified visual matrix exercise. In this article we report on the findings from our analysis of the affective experience of watching a film series, and through this discuss the use of film to communicate research findings and value of a novel qualitative psychosocial methodology for exploring the process of public engagement.
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Thomas, Mary. "Reframing Public Art in the Borderlands." Latin American and Latinx Visual Culture 4, no. 3 (July 1, 2022): 8–22. http://dx.doi.org/10.1525/lavc.2022.4.3.8.
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This article examines a series of public artworks created by Jari “WERC” Alvarez and Gera “GERALUZ” Lozano both singly and together between 2009 and 2013 in San Diego, California, and El Paso, Texas. Although the works produced then reveal an engagement with the history of Chicano muralism and visual representations of the US-Mexico border, Lozano and Alvarez’s projects offer a careful recuperation of the way the region and the site of the border are represented through their stylistic vocabularies that span graffiti, abstraction, and conceptual practice. This essay argues that the artists enact this reparative relationship through a “bricozaje” aesthetic orientation, which refers to the adaptation of bricolage techniques by artists whose work directly engages the fragmented space of the border and integrates the heterogeneous experiences that mark the experience of moving within and between cultural and artistic borderlands.
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Harding, Clare, Susan Liggett, and Mark Lochrie. "Digital Engagement in a Contemporary Art Gallery: Transforming Audiences." Arts 8, no. 3 (July 11, 2019): 90. http://dx.doi.org/10.3390/arts8030090.
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This paper examines a curatorial approach to digital art that acknowledges the symbiotic relationship between the digital and other more traditional art practices. It considers some of the issues that arise when digital content is delivered within a public gallery and how specialist knowledge, audience expectations and funding impact on current practices. From the perspective of the Digital Curator at MOSTYN, a contemporary gallery and visual arts centre in Llandudno, North Wales, it outlines the practical challenges and approaches taken to define what audiences want from a public art gallery. Human-centred design processes and activity systems analysis were adopted by MOSTYN with a community of practice—the gallery visitors—to explore the challenges of integrating digital technologies effectively within their curatorial programme and keep up with the pace of change needed today. MOSTYN’s aim is to consider digital holistically within their exhibition programme and within the cannon of 21st century contemporary art practice. Digital curation is at the heart of their model of engagement that offers new and existing audience insights into the significance of digital art within contemporary art practice.
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Gillis, Tamara. "Public Art in Corporate Spaces: Enhancing Corporate Environments and Employee Engagement." International Journal of the Arts in Society: Annual Review 1, no. 1 (2006): 9–18. http://dx.doi.org/10.18848/1833-1866/cgp/v01i01/35278.
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Batchelor, Peter. "Lowercase Strategies in Public Sound Art: celebrating the transient audience." Organised Sound 18, no. 1 (March 26, 2013): 14–21. http://dx.doi.org/10.1017/s1355771812000209.
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Public art invariably involves the drawing of individuals into the roles of audience and participant by virtue of it being in the public domain – in public places where those individuals are getting on with their everyday lives. As such, a large proportion of the ‘audience’ is an unwitting one, subjected to the art rather than subscribing to it. This is equally true of public sound art, where response to an intervention may vary from engagement to non-engagement to indifference to unawareness, along with a variety of transitional states between. This essay seeks to investigate this ambiguous territory in public sound art, proposing it both as an area rich in possibility for creative exploration and as a means by which artists may reveal and encourage sensitivity to the existing characteristics of a site (thus accommodating the pursuit of agendas relating to acoustic ecology). In particular it investigates and presents a case for the use of lowercase strategies in sound art as ways in which the public might be invited into a dialogue with works (invitation rather than imposition) and thus empowered as partakers of public sound art.
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Zebracki, Martin. "A cybergeography of public art encounter: The case of Rubber Duck." International Journal of Cultural Studies 20, no. 5 (May 9, 2016): 526–44. http://dx.doi.org/10.1177/1367877916647142.
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Scholarship has largely been conducted on publics’ ‘offline’ public art encounters, while public art practice has become increasingly integrated with virtual dimensions. This article aims to fill this gap by focusing on digitally mediated public art engagement. A case study on the travelling Rubber Duck exhibition (2012–present) interrogates how this artwork is appropriated and narrated through digitally networked spaces (mainly social media, forums and news platforms) after its repeated on-site installations. This article argues for the need to expand on ‘virtual relationality’: the communication, (re-)negotiation and (re-)siting of public art’s roles and meanings through (mainly text- and image-based) social mediations within hybrid, online-offline contexts. Public art encounters are examined along fluid cybergeographical understandings of its social and spatial publicness, temporalities and uses, which deconstruct binaries including material/digital space, permanence/ephemerality and human/non-human.
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Tischler, Victoria, Teri Howson-Griffiths, Catrin Hedd Jones, and Gill Windle. "Using art for public engagement: reflections on the Dementia and Imagination project." Arts & Health 12, no. 3 (May 9, 2019): 270–77. http://dx.doi.org/10.1080/17533015.2019.1608565.
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Jack, Max Z., and Eugenia Siegel Conte. "The Art of Making a Scene." Resonance 3, no. 2 (2022): 125–44. http://dx.doi.org/10.1525/res.2022.3.2.125.
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Through an examination of four contrasting moments of public intervention, we investigate the sonic and cultural implications of “making a scene”—a style of social engagement that draws attention and exceeds expectations of the normative social functions of a particular space. The act of making a scene serves as an avenue for understanding the broad and simultaneous trends toward heightened stratification and political polarization that exhibit a desire to be heard. Be it in the form of impromptu street performances, protests, or riots—which range from exhilarating to terrifying—the desire to be heard can be conceived as a rejection of the liberal values of rational-critical discourse through the radical implementation of voice and sound as a means of temporarily appropriating space and redefining place. Reorienting social activity into a heightened emotive terrain, such acts short-circuit the quotidian, serving to incorporate strangers and force social engagement that would otherwise be unlikely to occur. Building upon and complicating notions of voice as expressive of identity and political agency, we posit that voice serves to transform emotional dynamics through an engagement with the physical qualities of space and its acoustic-vibrational possibilities. Capturing attention through expressive inflections of difference, making a scene momentarily flips the social logics of a place, revealing public space as a site of contestation characterized by the unequal flow and uneven habitability of different bodies and voices.
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Merina, Neena, and Dr Vineeth K. M. "Perception Of Youth Towards Kochi-Muziris Biennale." History Research Journal 5, no. 4 (August 22, 2019): 213–21. http://dx.doi.org/10.26643/hrj.v5i4.7607.
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The Kochi-Muziris Biennale seeks to establish itself as a centre for artistic engagement in India by drawing from the rich tradition of public action and public engagement in Kerala, here Kochi is located. In a world of competing power structures it is necessary to balance the interests and independence of artists, art institutions and the public.
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Caldarola, Elisa. "Assessing the Intellectual Value of New Genre Public Art." Open Philosophy 2, no. 1 (January 18, 2019): 22–29. http://dx.doi.org/10.1515/opphil-2019-0003.
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AbstractSuzanne Lacy introduced the term ‘New Genre Public Art’ (NGPA) to refer to art practices that depart from those traditional of public art (such as installing works in parks and plazas) and focus instead on the direct engagement of artists with audiences to deal with pressing socio-political issues. In this paper, I argue that some works of NGPA should be valued for the intellectual value grounded in their artistic features, not dissimilarly to works of conceptual art. In developing my argument, I take distance from Vid Simoniti’s recent account of ‘Socially Engaged Art’, offer a thorough analysis of Thomas Hirschhorn’s Bataille Monument (2002) and Kathrin Bohm’s and Stefan Saffer’s Mobile Porch (1999), and submit that both such works qualify as good works of NGPA.
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Last, Angela. "Mutable Matter: Using Sensory Methods in Public Engagement with Nanotechnology." Leonardo 45, no. 2 (April 2012): 132–39. http://dx.doi.org/10.1162/leon_a_00279.
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Mutable Matter is an experimental public engagement pilot program that seeks to enable non-scientists to explore and co-imagine the future of nanotechnology. Located at the intersection of geography, science communication and art practice, Mutable Matter is intended as a starting point for examining playful sensory engagement methods bridging tangible public and intangible scientific spaces. The project both challenges the role of non-scientists as mere commentators on pre-decided innovation trajectories and draws attention to the way scientific information is creatively encountered in the public realm.
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Jones, Rhys Bevan, Julia Thomas, Jamie Lewis, Simon Read, and Ian Jones. "Translation: From Bench to Brain – Using the visual arts and metaphors to engage and educate." Research for All 1, no. 2 (July 15, 2017): 265–83. http://dx.doi.org/10.18546/rfa.01.2.04.
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This article examines multidisciplinary public engagement projects that bring together developments in psychiatric research and practice with visual art and its use of metaphor. The article focuses on the art exhibition Translation: From Bench to Brain , which was the basis for further collaborations, illustrating how the learning from the original event influenced subsequent projects. Combining art exhibitions with online documentation and resources, the projects explored not only medical and scientific themes, but also the wider social, cultural and ethical ramifications, specifically aspects of identity, risk and stigma. The activities demonstrate the value of a developmental approach to public engagement as a process, whereby projects build on previous activities and evolving multidisciplinary perspectives, networks and expertise.
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Etim-Ubah, Pauline. "The Arts as Public Service." International Journal of User-Driven Healthcare 3, no. 3 (July 2013): 19–30. http://dx.doi.org/10.4018/ijudh.2013070102.
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This paper will argue that the arts can contribute to wellbeing by supporting positive mental wellbeing as demonstrated in the breadth and quality of current arts and mental health practice. This practice challenges existing notions of evidence-based policy used to inform the development of public services. The exploration of relationship between arts and mental health highlights the specific interventions that demonstrate effective engagement with people experiencing mental health issues. The paper outlines the contextual background of arts and mental health and makes reference to the ongoing influence of earlier art movements like Outsider art. Then, the following examples of practice: art therapy, social prescribing, community arts projects and art in public spaces, will be brought together in order to classify arts and mental health as a distinct field which can be compared and contrasted to the wider arts and health movement. Finally this paper will deconstruct and analyze what arts and mental health practice means in terms of understanding mental health; challenging what is accepted as artwork and the role of people with mental health needs as artists. This paper asks for new and appropriate ways to measure the outcomes of the arts as a public service that recognize the expertise of the people and communities creating and experiencing the art.
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Wood, Sharmila. "Making Space. Singapore, Artists & Art in the Public Realm." Journal of Public Space, Vol. 5 n. 4 (December 1, 2020): 137–54. http://dx.doi.org/10.32891/jps.v5i4.1408.
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In recent times Singaporean artists have undertaken audacious artistic performances, actions and interventions in public space, highlighting the role of artists as provocateurs of debates around public space and their engagement with issues related to ethical urbanism. Between 2010 – 2020 artists working in diverse fields of artistic practice including visual art, street art, performance art, community arts and new genre public art begun to locate their artwork in public spaces, reaching new audiences whilst forging new conversations about access, inclusion and foregrounding issues around spatial justice. In contesting public space, artists have centralized citizens in a collective discourse around building and shaping the nation. The essay documents key projects, artists and organisations undertaking artistic responses in everyday places and examines the possibility of public art in expanding concepts of ‘the public’ through actions in Singapore’s public space, and demonstrating the role of artists in civil society.
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Hannes, Karin. "What Art and Design Do for Social Inclusion in the Public Sphere." Social Inclusion 9, no. 4 (November 30, 2021): 103–5. http://dx.doi.org/10.17645/si.v9i4.5086.
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Art and design can meaningfully contribute to social change. It can shift debates, change perspectives, raise awareness, and act upon visible and invisible mechanisms of inclusion and exclusion of different agents occupying the public sphere. In this thematic issue we invited authors to relate to this claim as they preferred: by bringing evidence to support it, refute it, or simply to discuss the potential benefits and harms of artistically inspired and design related interventions in citizens living environment. We challenged authors to rethink agency and engage theoretically or empirically with how art and design installations act upon us, citizens, and vice‐versa. The result is a compilation of different storylines, coming from different geographical parts of the world and written from a variety of cultural perspectives. What binds these contributions is a true commitment to open up a space for those experiencing challenging life circumstances to access, occupy, or transform the public sphere. Our collective engagement with concepts such as power, prejudice, harassment or discrimination was not focused on erasing differences. Instead, we engaged with the idea that certain differences should matter less than they currently do in creating a safe and accessible public space for all.
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Soliman, Asmaa. "Muslim Women’s Self-Representation in Art." Religion and Gender 9, no. 2 (December 10, 2019): 170–93. http://dx.doi.org/10.1163/18785417-00902002.
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Abstract This article examines German Muslim women’s artistic self-representation arguing that their public engagement can be seen as an example of counterpublics. Two main features can be found. First, the artists feel disappointed by the mainstream public, as it excludes and misrepresents Muslim women. Second, an agitational orientation can be observed, as the artists intend to offer explicitly articulated alternative self-representations targeting the mainstream public. The normality of their female German Muslim identity is conveyed. The very fact that the artists aim to challenge dominant stereotypes about Muslim women reveals the stereotypes’ strong influence on their self-representation. Due to their Muslim and female identity, Muslim women in the West face several exertions of power. The theory of intersectionality shows that their self-representation can be seen as a refusal to serve as an object of the male gaze, as well as the non-Muslim German gaze.
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Widrich, Mechtild. "The Informative Public of Performance: A Study of Viennese Actionism, 1965–1970." TDR/The Drama Review 57, no. 1 (March 2013): 137–51. http://dx.doi.org/10.1162/dram_a_00239.
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The reputedly “direct art” of Viennese Actionism, including Günter Brus's Vienna Walk and the Picture Compendium of Viennese Actionism compiled by Peter Weibel and VALIE EXPORT, constitutes an “informative” audience for later readers, with documents setting the stage for an imaginative engagement with still-unknown spectators.
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Mandell, Hinda. "‘Monstrous’ craft activism: A city yarn installation that wrought controversy through textile togetherness and community engagement." Craft Research 12, no. 1 (March 1, 2021): 31–50. http://dx.doi.org/10.1386/crre_00039_1.
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Yarn has the potential to be monstrous when placed in public places. It can cause controversy, even when carefully planned as a public art installation involving collaboration with business developers and city stakeholders. This article focuses on the fallout from City Hall on one such yarn installation at a public park in Rochester, New York, in summer 2018 and applies the theoretical lens of ‘monstrosity’ used by Nicola Moffat in the book Textiles, Community and Controversy: The Knitting Map. The article demonstrates that while the twelve original tapestries were well received by the Rochester community, they were deemed ‘not natural’ by City Hall and ordered to be removed, despite permission previously granted by a city official. Ultimately, despite the handcraft controversy, this yarn installation ignited a positive community-based response in favour of public art and ‘textile togetherness’, a term defined in this article. And later the tapestries found a second life in a different community revitalization project. The article offers suggestions for future organizers of yarn installations and calls for more public art to be placed in urban areas as the output of community engagement.
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Maurides, Patricia, and Marlene Behrmann. "The Brain as Muse: Bridging Art and Neuroscience." Leonardo 50, no. 2 (April 2017): 190–91. http://dx.doi.org/10.1162/leon_a_01387.
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This article describes a partnership between an artist and neuroscientist who share common interests. The authors discuss bridging the fine arts and neurosciences through the development of transdisciplinary courses and public engagement through an art and science exhibition. Their NeuroArt partnership promotes dialogue and creates community among students and faculty by sharing access, tools and probing questions common to both disciplines.
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Sett, Alisha. "Photo Circle: A Short History of the Nepal Picture Library." Cabinet, Vol. 2, no. 2 (2017): 56–69. http://dx.doi.org/10.47659/m3.056.art.
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This is a short history of the Nepal Picture Library (NPL), Nepal’s first large-scale digital photo archive encompassing over 50,000 photographs collected in less than a decade. It is a rare institution; a catalogued visual resource open to the public with scores of intimate family collections, the historic and the mundane captured over decades by photojournalists, and portraits made in photo studios across the country. The essay provides insight into the strength, scope and potential of this community-created archive. Founded and managed by Photo Circle, a platform for photography in Kathmandu, NPL has published books, done several exhibitions in museums and public spaces across Nepal, and exhibited their collections internationally. Tracing the origins and the impact of NPL through a series of interviews, the essays reveals not only the transformative power of their methods of public engagement but also the deep concern for visual culture fostered in their volunteers particularly among photographers serving as amateur archivists. Keywords: archive, Kathmandu, Nepal, oral history, public history
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Setterington, Lynn. "Public Art Engagement: The Effectiveness of Hands-on Craft Practice in Our Digital Age." International Journal of Social, Political and Community Agendas in the Arts 7, no. 2 (2013): 65–73. http://dx.doi.org/10.18848/2326-9960/cgp/v07i02/36364.
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Shein, Paichi Pat, Yuh-Yuh Li, and Tai-Chu Huang. "The four cultures: Public engagement with science only, art only, neither, or both museums." Public Understanding of Science 24, no. 8 (September 4, 2015): 943–56. http://dx.doi.org/10.1177/0963662515602848.
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Grassi, Alessia. "Art to enhance consumer engagement in the luxury fashion domain." Journal of Fashion Marketing and Management: An International Journal 24, no. 3 (April 4, 2020): 327–41. http://dx.doi.org/10.1108/jfmm-09-2019-0194.
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PurposeThis paper explores an opportunity for luxury fashion brands to strengthen their engagement with consumers through the arts and without undermining the exclusivity of the luxury product.Design/methodology/approachThis paper is based on an interpretive qualitative approach aiming to specifically investigate Fondazione Prada – a contemporary art gallery owned and managed by the fashion brand Prada. Data were collected through semi-structured interviews and a focus group implemented with the “mystery shopper” technique. Template analysis was used to analyse the data.FindingsFondazione Prada has the potential for a deep engagement, but specific lack of dialogue and interaction needs to be addressed. Learning from and sharing values with the public through a two-way peer conversation elicited by contemporary art will benefit both the foundation and the fashion brand, in generating value as the result of a spillover effect. Thus, a significant competitive advantage might be gained.Originality/valueThis paper extends work on consumer brand engagement in physical and non-commercial “brand's places”, by evaluating the engagement provided by contemporary art foundations owned by luxury fashion brands. By leveraging the engaging nature of contemporary art, luxury fashion brands could provide an inclusive and engaging experience without undermining the characteristic of exclusivity of the luxury product and hence, gain a significant competitive advantage for the brand.
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Johansen, Anja. "Imagining the Brain, Engaging the Body: Designing Visitor Engagement in Science Exhibition Experiments with Art." Museum and Society 20, no. 2 (November 1, 2022): 153–71. http://dx.doi.org/10.29311/mas.v20i2.3522.
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Science museums have increasingly experimented with bringing art into their exhibitions to attract and engage visitors. While the prevalence and popularity of such experiments is growing, research on the rationales for collaboration and their outcomes, as well as the challenges involved, remains scarce. This paper analyzes and discusses how art is used as part of engaging visitors in two contrasting exhibitions about the brain and neuroscience: one using art as illustration of ready-made science, the other inviting artists as co-curators in evoking a feeling of science in the making. Drawing on models of public engagement and art-science collaboration, it discusses how notions of science communication and visitor engagement are imagined and enacted in the two exhibitions, and how they relate to different ‘logics’, or rationales, of interdisciplinary collaboration.
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Vlachou, Sofia, and Michail Panagopoulos. "The Arc de Triomphe, Wrapped: Measuring Public Installation Art Engagement and Popularity through Social Media Data Analysis." Informatics 9, no. 2 (May 9, 2022): 41. http://dx.doi.org/10.3390/informatics9020041.
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Social media is the most popular canvas to engage with art. In this study, we provide a different angle, on how an artistic installation on a world-renowned monument—such as Paris’ Arc de Triomphe—can emotionally affect viewers and potentially increase the popularity of the artwork. We collected N = 7078 Instagram and N = 3776 Twitter posts of the Arc de Triomphe as wrapped (installation) and unwrapped using APIs. As engagement indicators for several supervised machine learning experiments, we chose the total number of likes, comments, shares, text sentiment, and so on. Our findings revealed that people were captivated by the poetic installation. Based on the results, we discovered that the sentiments of triumph and surprise prevailed in datasets of the Arc de Triomphe as unwrapped. The same sentiments of triumph and surprise were most prevalent in datasets as wrapped, as well, but with higher scores. Furthermore, we have provided evidence of public art experience and engagement in the social media era. This research, we believe, will be useful in future studies of social media through the lens of public art and popularity. We hope that our findings will stimulate future research in the fields of art curatorship, cultural heritage management, marketing and communication, aesthetics, and culture analytics.
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Chandler, Lisa, Claudia Baldwin, and Megan Marks. "Catalysts for Change: Creative Practice as an Environmental Engagement Tool." Leonardo 47, no. 5 (October 2014): 506–7. http://dx.doi.org/10.1162/leon_a_00825.
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This paper presents research investigating how creative practice can complement scientific discourses in engaging the public with environmental issues. Focusing on the Floating Land environmental art festival and The People’s Garden eco-visualization, this enquiry examines how participatory creative projects can engender social learning and reflection on environmental values that operate as catalysts for change.
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Pena, Mary. "Black Public Art: On the Socially Engaged Work of Black Women Artist-Activists." Open Cultural Studies 3, no. 1 (January 1, 2019): 604–14. http://dx.doi.org/10.1515/culture-2019-0053.
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Abstract Inaugurated at the Brooklyn Museum of New York in 2017, the path-breaking exhibition “We Wanted a Revolution: Black Radical Women, 1965-85,” centers the creative expressions and lived experiences of black women artists within a primarily white, middle-class, heteronormative mainstream feminist movement. Engaging visual mediums, artist-activists rendered a black feminist politics through cultural and aesthetic productions. In so doing, artists recast extant representations of black social life, demanded inclusion within cultural institutions, and created black-oriented spaces for artistic engagement. In the contemporary global political climate of anti-blackness, artists craft socially engaged practices that creatively intervene in public space and the cultural institutional landscape. Through a critical analysis of Carrie Mae Weems’ Operation: Activate, Simone Leigh’s The Waiting Room, and LaToya Ruby Frazier’s Flint is Family, this essay concerns recent interventions that mobilize an expansive approach to art combined with activism. The myriad practices of Weems, Leigh, and Frazier recompose sites of political engagement and empowerment that enact a broader praxis of reimagining social worlds. These projects belie the representational fixity on which art economies hinge, gesturing to material formations that elicit tactile modes of relation, and challenge the bounds of subjects and objects in the world.
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Becker, Karin. "Protest in the Photo Essay: Following Tradition or Breaking New Ground?" Protest, Vol. 4, no. 2 (2019): 62–67. http://dx.doi.org/10.47659/m7.062.art.
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The photo essay, a form of visual journalism that arose during the era of the picture magazines, has reemerged as a regular feature of global news channels, including CNN, BBC World, and, notably, Al Jazeera English, recognized for its live reporting of political unrest. In 2017, a year marked by protest around the world, AJE published over 200 photo-series, including 37 on public protest. An analysis based in a four-year study of protest on screen, revealed that these photo essays share characteristics that in turn distinguish them from video broadcasts of public protests. The photo-reportage on screen, like its classic forerunner in print, employs a variety of visual perspectives and focuses on participants who are often quoted and identified by name. Scenes of public protest are complemented by visual and textual reporting from the private/domestic sphere. This visual strategy, in contrast to the immediacy of video coverage from the streets, supports knowledge of the protest issue and engagement with its participants. Keywords: Al Jazeera English, global television news, news galleries, photo essay, photojournalism, public protest
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Zacharias, Kari, and Matthew Wisnioski. "Land-Grant Hybrids: From Art and Technology to SEAD." Leonardo 52, no. 3 (June 2019): 261–70. http://dx.doi.org/10.1162/leon_a_01479.
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The authors explore the role that public and land-grant universities play in sciences, engineering, arts and design (SEAD). They combine a networked institutional history of art and technology collaborations with an ethnographic study of SEAD initiatives. They use the notion of land-grant hybrids to describe widespread entanglements between research, teaching and public engagement. Their study identifies three “matters of concern” that aid in rethinking the origins, current practices and possible futures of SEAD: disparities in sponsored collaboration, the need for hybrid practitioners to demonstrate measurable impact and the ambiguities of what counts as appropriate art and reputable research.
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Iannone, Alejandra Emilia. "Viral Art Matters." International Journal of Technoethics 6, no. 2 (July 2015): 74–85. http://dx.doi.org/10.4018/ijt.2015070106.
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Since the 1990s, Internet communications technologies have influenced human activity. Over the last 15 years, a phenomenon called virality—i.e., when content circulates via Internet among an increasingly broad audience at an exponentially rapid rate—has been especially impactful. Only some information achieves virality, so the phenomenon invites reflection. Yet, scholars have failed to adequately address the topic. The literature is especially sparse when it comes to viral artwork. This essay helps fill that gap in the literature by demonstrating the academic significance of viral artwork through comparative analysis of three cases where Internet-based artworks went viral: “Ten Hours of Princess Leia walking in NYC,” “New Beginnings,” and “McKayla is Not Impressed.” The author asserts that viral artwork merits rigorous study because doing so could: first, augment existing research on other topics; second, fortify investigations in philosophy of art; and third, guide the public toward better-informed engagement with viral artwork.
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Mosse, Rosamund, and Lewis Muirhead. "The Art of Hosting Participatory Practices in Social Labs: Moving Beyond Participation to Deep Engagement." FormAkademisk - forskningstidsskrift for design og designdidaktikk 13, no. 4 (December 17, 2020): 3. http://dx.doi.org/10.7577/formakademisk.3383.
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Working with diverse groups to address complex issues is the primary aim of the burgeoning field of social labs. This paper investigates how the Art of Hosting (AoH) helped the facilitation team at New Brunswick’s Social and Public Innovation Lab (NouLAB) to build trust and integrate the wisdom of the participants into the lab process. We argue that AoH provided a container for the deep understanding and changes in perspective experienced by participants in the first two cycles of the lab. This study may be of use to those planning multi-stakeholder engagements and working in complex problem spaces.
Keywords:
Social innovation labs, Art of Hosting, participatory practices, public sector innovation, dialogic organizational development.
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Kragelund Nielsen, Karoline, Michael Calopietro, Toh Peng Yeow, Tahir bin Aris, and Ulla Bjerre-Christensen. "PERCEPTIONS AND ABILITIES RELATED TO PATIENT ENGAGEMENT IN DIABETES CARE AMONG PRIMARY HEALTHCARE PROVIDERS IN MALAYSIA: A QUALITATIVE STUDY." Malaysian Journal of Public Health Medicine 20, no. 2 (October 1, 2020): 207–14. http://dx.doi.org/10.37268/mjphm/vol.20/no.2/art.280.
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Malaysia seeks to transform its public healthcare sector to manage the growing number of people with diabetes. Patient engagement is a critical clinical competency for healthcare providers treating people with diabetes. In this study, we investigate the perceptions of and ability to practice patient engagement among doctors and nurses working in Malaysia’s primary healthcare system. Semi-structured interviews were conducted with nine non-specialist doctors and ten nurses working in primary healthcare clinics. Further, 12 key informants with specialist knowledge about diabetes care and the healthcare system in Malaysia were interviewed. The interviews were analyzed using qualitative content analysis. Three main themes emerged: 1) understanding barriers to self-care and treatment, 2) perceived training needs and skills within patient engagement and empowerment, and 3) challenges to the practice of patient engagement. A range of barriers was identified in healthcare providers’ ability to practice patient engagement. Future efforts should seek to improve competencies within patient engagement, identification of especially psychosocial barriers to self-care and empowerment. Yet, available manpower and time also influence whether patient engagement is practiced.
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Roberts, Stephen B. "Beyond the Classic: Lady Gaga and Theology in the Wild Public Sphere." International Journal of Public Theology 11, no. 2 (June 2, 2017): 163–87. http://dx.doi.org/10.1163/15697320-12341481.
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There is a rich vein of theology running through much popular culture as exemplified by the artistic output of Lady Gaga, a discussion of which lies at the heart of this article. Such theological engagement with popular culture, it is argued, is an important task for public theology because this is a locus in which theology is already present in the public sphere. This suggests an approach to public theology that moves beyond David Tracy’s notion of the ‘classic’ in the context of hypermodernity. The case for this new agenda is presented in a twofold structure. Firstly, the theopolitical significance of Lady Gaga’s pop art is established. Secondly, a way of conceiving the ‘publicness’ of theological engagement with popular culture is articulated in dialogue with Habermas’ conception of the wild public sphere.
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Chahin, Jaime. "Values, Migrant Parents, Leadership, and the Public Good." Journal of Transformative Leadership & Policy Studies 6, no. 1 (February 1, 2017): 5–14. http://dx.doi.org/10.36851/jtlps.v6i1.486.
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This reflective essay posits an examination on how migrant experiences and educational development shape identity and inform their core values. Under-standing the formal academic socialization experi-ences of migrants can serve to inform a commitment to the public good through exposure to academic readings, research and service that shape knowledge, values and perspective. This socialization trajectory grounded in knowledge and experience has enlight-ened the author’s perspective to improve access, guidance, opportunity, mentoring and engagement to migrant students. The leadership challenge is to master the art of “barn raising” as we share finite institutional resources.
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Eden, Alice Anne. "Enchanted Community." Exchanges: The Interdisciplinary Research Journal 6, no. 1 (November 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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Mallaby, Anne, and Libby Byrne. "An ordinary gift: The work of art as theological conversation." Pacifica: Australasian Theological Studies 30, no. 2 (June 2017): 158–76. http://dx.doi.org/10.1177/1030570x17738265.
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This case study considers the nature of making, seeing and being with art in a dialogue about the experience of Libby Byrne’s exhibition, ‘An Ordinary Gift’ in Melbourne, 2016. The article explores the nature of making, seeing and being with art as a methodological framework for theological inquiry. Bringing to bear their experiences as artist and curator, two researchers examine recorded viewers’ responses to the exhibition, as a means of understanding the nature of theological engagement and insight that was possible in the process of making, being with and seeing this public exhibition. The article acknowledges that the work of art offers an ordinary gift of containment for the ineffable qualities of our lived experience with God. A faith-ful framework of communal engagement can therefore offer an external reference point that guides and shapes the making, the seeing and even the ways in which we are able to be with art. As we transform the way we engage with theological questions and concerns we are in turn transformed by the ordinary gift of making, seeing and being with art.
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Carmon Popper, Irit. "Art-Heritage-Environment: Common Views Art Collective Engagement with Bedouin Minority in Israeli Desert Region (2019–2021)." Arts 11, no. 6 (December 19, 2022): 128. http://dx.doi.org/10.3390/arts11060128.
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The Bedouin and Jewish inhabitants of the southern Israeli desert region share a common desert vista. However, they are diverse, multicultural communities who suffer inequity in access to valuable resources such as water. Between 2019 and 2021, Common Views art collective initiated a socially engaged durational art project with Bedouin and Jewish inhabitants entitled Common Views. The art collective seeks to enact sustainable practices of water preservation as a mutually fertile ground for collaboration between the conflicted communities, by reawakening and revitalizing rainwater harvesting, as part of traditional local desert life. Their interventions promote new concepts of Environmental Reconciliation, aiming to confront social-ecological issues, the commons, and resource equity, grounded in interpersonal collaborative relationships with stratified local communities. Their site-specific art actions seek to drive a public discourse on environmental and sustainable resources, while reflecting on the distribution of social and spatial imbalance. They take part in contemporary art discourse relative to socially engaged practices, yet their uniqueness lies in conflictual sites such as the discord arising from the Israeli-Palestinian conflict, and their proposed model for resolution linking politics with environment. It utilizes renegotiation with histories and heritage, as a vehicle to evoke enhanced awareness of mutual environmental concerns in an attempt at reconciliation on political grounds.
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Khonsari, Torange. "Contemporary Initiatives in Participatory Art and Architecture Practice." Open House International 33, no. 2 (June 1, 2008): 85–92. http://dx.doi.org/10.1108/ohi-02-2008-b0011.
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Recently in the fluid space between Art and Architecture new innovative projects have emerged using informal and playful forms of social engagement to facilitate community led design. This paper shows the difference between a participatory project commissioned within the arts and a participatory project commissioned within architecture. Two projects carried out by the practice of public works will be explained to show how art and architecture working together can reach beyond temporary social events to support community led projects in the medium to long term. The first project ‘Lay-out’ commissioned by Gasworks Gallery was a residency over a 3-month period, which examined how the gallery is perceived and used by its audiences. The second project shows work with the residents of two housing estates, Braithwaite House and Quaker Court in Bunhill Row - Old street - London. The project was derived from the public realm strategy for EC1, commissioned by EC1 New Deal for Communities and was to create an active public and social space to be shared by two rather conflicting communities.
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Broome, John. "BOOK REVIEW Visual Thinking Strategies in Montessori Environments." Journal of Montessori Research 8, no. 2 (December 19, 2022): 44–47. http://dx.doi.org/10.17161/jomr.v8i2.18640.
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Using almost 30 years of research, the National Center for Montessori in the Public Sector (NCMPS) and Philip Yenawine present the case for visual thinking strategies (VTS) as an opportunity to apply these strategies in the Montessori learning environment by centering engagement with art. The overall goal of VTS is to provide an accessible transformative learning experience through an open-ended discussion of visual art that increases a student’s literacy, language, and critical thinking skills.