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Theatre and public art

Theatre and public art



Dublin City Council and Theater Forum public art development day

Dublin City Council and Theater Forum public art development day



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    Theatre and public art Theatre and public art Presentation Transcript

    • Public Art Briefs and proposals Developing Theatre Practices into Pubic Art The Lab April 2010 Sarah Searson and Cliodhna Shaffrey
      • Delacorte Theatre opened in 1962 in Central Park .
    • Mossutställningar, Stockholm.
    • Aideen Barry
    • Martin Creed Work No. 850
      • FUTURE PROJECTS COMING SOON - The next projects brought to you by All Tomorrow's Particks
      • Partick Swap Shop - Bring something, leave with something else!
      • Picnic and Rounders - Cakes al fresco followed by a game of the old favourite.
      • Alternative Highland Games - Exactly as it sounds!
      • 'Tea and Sympathy' - Discuss your memories of Partick and your hopes for it's future.
      • Indian Head Massage - Yes more massage, we like it!
      • Treasure Hunt - Hooray!
      • Street Party - Pray for sunshine!
      Nic Green Theatre Practitioner
    • artists context (place/people) commissioner artwork
      • It is not the job of art to reach consensus across different 'publics'.
      • Dominic Thorpe
      • Current and Emerging Practices
      • in Public Art in Ireland
      • Recent Times and Current Climate
    • Boom Times - significant available funding and opportunities for artists to the Recession – less funding, drying up of opportunities. State Policy - on public art national guidelines – 2004 and current review. Towards greater freedom and artistic expertise Local Arts Development Plans. Impacts and trends Public Art Specialists in local authorities (and their decline). Specialist Curators and the role of the artistic expert
    • PRACTICES EMERGING Flexibility for artists’ responses – site, functional socially engaged, process-research, event, social, decorative. Curated and programmatic approaches Off-site artistic programmes Growth in number of small-scale festivals and curated events Curated approach to commissioning Academicisation of artists practice and MA and PhD in Public Art / Contemporary Art Artists-led initiatives
    • Situation – the specifics of context Intention – the artists’ intention for the work / closeness to practice Awareness of audience and (people)/ different kinds of audiences; Making demands on the public Embedded in contemporary arts practice and artist’s ethos - emphasis on the relational and more temporary., time based artworks, change in the understanding of the product Collaborative practice and interdisciplinary approaches Process The some re-emergence of sculpture / permanent work (inside/ unmonumental/ subversive with new material and technology)
    • CRITICAL DEBATES RAISED you’re asked to do something on the margin: you don’t get the main space, you’re put in the corner. (Vito Acconci) Institutional pressures (political, social and other) (Miwon Kwon) Artist as Ethnographer (Hal Foster) Education and improvement over solidarity Grant Kestler Censorship and limitations (Clare Dorothy) More in Critical Section publicart.ie
    • Whose history is represented? How does public art confront darker or more painful complicated considerations and not miss opportunities to act in solidarity? (Grant Kester) The lure of the local (Lucy Lippard) nostalgic versions of place. Gentrification, displacement, cleaning up and the drive for marketing of place - (Malcolm Miles/ Roselyn Deutche/ Rebecca Solnit/ Ed Soja). Taste - whose tastes
    • Types of Practice & Levels of Engagement Artists who make work with little/no involvement of others except for technical expertise. Artists who invite participation Artists who embed themselves within the social fabric of a city or place. Artists who work from a collaborative basis – effecting a kind of social sculpture. Artists who act as investigators/ researchers/ anthropologists observing, mapping or tracking aspects of place or communities. From Clare Dorothy Curating in the wrong place, where have all the penguines gone?
      • The Brief
      • The BRIEF, traditionally the brief has been the starting point for developing public art projects.
        • In it the commissioners define the vision for the artwork and seek or call for different responses.
        • Ideally the brief should give guidance without limiting the potential of the idea, it should outline process and give background and clarity.
        • TYPES
        • Briefs ask for specific responses and definition; specifying , a particular medium, any associated requirements and the context eg Roads, Schools, Airports.
        • Open with appear ant greater artistic freedom i.e they offer flexibility in response. Local authority Programmes: In Context, S. Dublin/ Wicklow/ Breaking Ground
        • Writing your own brief: You determine process and outcomes – e.g. Fingal County Council
    • What do I need to do to realise this commission? Can I build Research Time in as part of the application? Do I need another’s input – a mentor or specialist? Are there ethical questions underpinning my approach? Am I up for a Challenge? Are there other projects, artists, or works that inspire me ? how does material work or change for this context?
    • TO KEEP IN MIND Develop and clear understanding of how you like to work and the potentials of this within your own practice development. What are the values of your existing practice, the intentions and ambitions and consequent responsibilities of developing a public Seek peer engagement, feedback and support in developing the workability of your ideas. (This maybe included as part of initial proposals )
      • What are main concerns in the brief and your response to it?
      • The artist? The public? The Commissioner? The Context?
      • Your responsibilities as an artist is to yourself, but in public art commissions it is also likely to be a strong emphasis
        • To others and collaboration
        • To the place and context
        • To the commissioner and funders
      • Address your practice how it relates to your proposal and the intentions in work. How and To Whom does it connect?
    • RESPONDING TO A COMMISSION It is tempting to apply because there is money on offer, but..... Do not compromise your artistic practice when making proposals (especially for public art commissions..... Many public art commissions require a context specific element (reflecting the community of place and interest) The key is to find a connection between your work and practice to the context be it the people, geography, nature of the place, identity, fiction, etc Collaborative practise – working with other artists or across artform / or with communities can prove very fulfilling. These require specialist expertise and approaches to working. Consider working with other experts both artistic and others on the commission
    • Sean Taylor’s 100 Paces Collins Barracks Dublin – the artists turned the commission brief to suit him
    • contents of a brief
      • Concepts
      • Programmatic, curatorial or focus of commission
      • Context
        • Site, architectural context, place
        • Organisational context, cultural ethos
      • The Brief
        • Nature of artwork sought
        • Value / Budget
        • Project management – who is curating the commission
      • Submission process
      • Dates
      • Adjudication
      • Appendices
        • Photographs, Plans, Diagrams
    • interpreting the brief
      • Context is possibly the most important issue
        • It asks questions of how you address the commission, define a concept and make your proposal
        • It is an opportunity to decide if the commission is appropriate for your own practice
      • Research
        • Site visit & briefing
        • Research and references
        • Material / medium / media – its performance
        • Value of relating your art practice to the context
        • The key is to find a connection between the context and your work / practice
        • other artists practice
      • A..B..C ‘s
      • Read the brief carefully
      • Give yourself time
      • Make a map (plot out / Visualise)
      • Structure your proposal based on what is required - feedback
      • Write clearly in a way that best communicates your ideas quickly
        • The opening statement / paragraph is important
        • Imagine who will be looking at it and reading it,
        • Try not to be too dense. Footnotes can help.
        • Do not be afraid of simple language or short sentences and keep paragraphs short.
        • Present in a style that takes cognisance of arts language.
      • Don’t be afraid – personality can come through – so can humour or mystery but best in a way that seems natural and close to your ideas rather than self conscious or clumsy and awkward.
    • Get someone else (a peer / another artist) to read your proposal, If you hate writing get someone else to write for you but check everything. New work and project development is a process, through process ideas develop – time-lines can often be very short, start early. Clarity emerges when you write and helps structure your thoughts, ideas occur. Check all requirements – what you have been asked for. Edit your material well, especially reference to your recent/past work – Keep the shit detector fully functioning. Do not submit much more than you are asked for. Do not submit too little to allow fair assessment Make it joyful, easy to move through, thoughtful and clear. Try and have the application reflect a little personality.
    • Writing a proposal – heading areas Title: Description: About your proposal/ concepts and thoughts behind it, research methodologies. what you want to do, what it will involve, theoretical underpinning of concepts. Context: The context for this work – social, physical, geographic, multi-sited, virtual etc. Research & Development People (this might be collaborators or other expertise) Audience/ Participants Costs: Materials/ Media – Location: Mediation Documentation Evaluation Networks/ future possibilities for the project. Maintenance (outlne as required) Technical details (specific as required). Timeframe Visuals might intersperse with your text in a way that makes it more lively and engaging.
    • Finance
      • Budget
        • Make sure you stay within budget
        • Unless you have proven funding from other sources
      • Breakdown of budget
        • Artist’s Fees
        • Other professional fees – seeking quotes
        • Materials and Production Costs – with analysis
        • Transport and Per diem costs
        • Insurances
        • Contingency
        • Vat if relevant (need to check if fee is VAT inclusive)
    • Artists Fees
      • Artists' fees are tricky one -its difficult to provide any concrete guidance.
      • Fees are generally not separated out from the total project budget and so artists have to estimate their own fee based on overall costs.
      • One recommendation puts artists fees between 20 - 25% of the total budget.
      • However, in reality the artists fee often gets eaten up by the production costs and in some cases artists have come away with no fee or very little.
      • Artists should ensure that they are paid properly for undertaking the project.
      • Commissioners should be aware of looking after artists fees
      • Example of a Proposal
      • Interview with Sean Taylor
      • Thank you,
      • good wishes with your project development
      • Sarah and Cliodhna