The document outlines the work of an organization that commissions contemporary craft projects, connects artists to diverse communities, and highlights the social, cultural, and economic value of craft. It discusses outcomes for artists such as career development and new audiences, as well as outcomes for communities like creative learning, well-being, and social cohesion. Examples of projects are provided that engaged vulnerable youth, migrant women, older adults, and showcased self-taught artists through exhibitions and residencies in various community venues.
codex_urbanite socially engaged art Karen Profilio UNSW 20/6/2014Karen Profilio
Presentation delivered by Karen Profilio at UNSW on 20th June 2014.
Part of a Professional Development Day titled: Art World Alliances: negotiating relationships between the art classroom, art world and art teacher’s professional obligations.
This document outlines a model for effective community engagement developed by ArtsMemphis. It discusses how traditional arts outreach of bringing programs to underserved communities was not fully addressing challenges like poor attendance. The Fellows program educated arts groups, engaged communities through conversations, and equipped groups with strategies. Arts groups shifted to a community-centric approach of listening to communities and developing locally relevant programs around issues like access to resources, connecting generations, and job training. This new localized and reflective approach helped arts groups engage more audiences and develop brand advocates in underserved communities.
This document discusses tips and suggestions for visual artists on how to develop skills and survive locally as an artist. Neva Elliott will discuss what artists need to sustain their practice, including support systems, visibility, networks, collective activity, artist initiatives, and a DIY attitude. Elliott will break down areas for artists to develop, such as motivation, production, support, access to audiences, and will take questions from attendees.
Creativity Works was a project that used arts to engage and empower children, young people, and their families. It focused on groups like young carers. Through creative activities like photography, painting, and clay modeling, participants were able to explore their lives and feelings. They developed personal stories and skills. The project helped improve self-esteem and confidence. It also trained social workers and established ongoing creative programs.
A thought provoking lecture on the parameters in which cultural opportunities are questioned and considered.
Can Art get people back to work? is a good discussion. Thesis: art and creativity positive forces which can be used to boosting morale, self esteem and empower people.
Towards an open, participatory cultural heritageKris Kitchen
Towards an open, participatory cultural heritage
Keynote for #teema14
http://www.nba.fi/fi/museoalan_kehittaminen/teemapaivat/puheenvuorot
Museoalan Teemapäivät/Museum Theme Days 2014
11-12 September, Helsinki
Slide 29 Kris Kitchen
Co-Creating Craft 2014 - heritage as a site for innovationCraftspace
The work on display here is the outcome of an international research project led by Falmouth University and Craftspace with Birmingham based partners; The Wesleyan Community Care Project and Soho House Museum in Handsworth and Dublin based partners Bealtaine Festival, Dublin Castle and the Office of Public Works.
The project is funded by the Arts and Humanities Research Council through its Connected Communities Programme.
Research Questions
How does learning through craft, sharing, making and reflecting develop skills and creativity?
How can people work purposefully and enjoyably in the second half of life?
How can we create a sense of opportunity about the second half of life - to take stock, reskill, plan ahead, connect with others and live more healthily.
The project
Community participants aged 50+ in Birmingham and Dublin conducted a creative and skills exchange using online tools like skype. Each group used a heritage building, Soho House Museum and Dublin Castle, and their associated histories and collections as inspirational starting points.
Designer Maker Natalie Cole facilitated 8 creative sessions. We wanted to explore the potential for participants to craft together for pleasure and well-being, as well as making to sell as a social enterprise.
The Process
The Birmingham and Dublin groups began with a visit to Soho House Museum and Dublin Castle recording them through photographs and drawings. They then selected a motif, shape, pattern or theme from which to develop designs.
They combined hand making with cutting edge digital technology. Participants collaborated with Makernow a community digital fabrication lab at Falmouth University. Their drawings were made into digital files and sent to the lab and produced into components through laser cutting and digital milling machines.
For most participants, this project has enabled them to become digitally aware for the first time. They now have some knowledge of computer aided design and the possibilities of creating new tools, for example blocks for printing as well as components for products.
Makernow digital studio session www.makernow.co.uk
cocreatingcare.wordpress.com
www.craftspace.co.uk
codex_urbanite socially engaged art Karen Profilio UNSW 20/6/2014Karen Profilio
Presentation delivered by Karen Profilio at UNSW on 20th June 2014.
Part of a Professional Development Day titled: Art World Alliances: negotiating relationships between the art classroom, art world and art teacher’s professional obligations.
This document outlines a model for effective community engagement developed by ArtsMemphis. It discusses how traditional arts outreach of bringing programs to underserved communities was not fully addressing challenges like poor attendance. The Fellows program educated arts groups, engaged communities through conversations, and equipped groups with strategies. Arts groups shifted to a community-centric approach of listening to communities and developing locally relevant programs around issues like access to resources, connecting generations, and job training. This new localized and reflective approach helped arts groups engage more audiences and develop brand advocates in underserved communities.
This document discusses tips and suggestions for visual artists on how to develop skills and survive locally as an artist. Neva Elliott will discuss what artists need to sustain their practice, including support systems, visibility, networks, collective activity, artist initiatives, and a DIY attitude. Elliott will break down areas for artists to develop, such as motivation, production, support, access to audiences, and will take questions from attendees.
Creativity Works was a project that used arts to engage and empower children, young people, and their families. It focused on groups like young carers. Through creative activities like photography, painting, and clay modeling, participants were able to explore their lives and feelings. They developed personal stories and skills. The project helped improve self-esteem and confidence. It also trained social workers and established ongoing creative programs.
A thought provoking lecture on the parameters in which cultural opportunities are questioned and considered.
Can Art get people back to work? is a good discussion. Thesis: art and creativity positive forces which can be used to boosting morale, self esteem and empower people.
Towards an open, participatory cultural heritageKris Kitchen
Towards an open, participatory cultural heritage
Keynote for #teema14
http://www.nba.fi/fi/museoalan_kehittaminen/teemapaivat/puheenvuorot
Museoalan Teemapäivät/Museum Theme Days 2014
11-12 September, Helsinki
Slide 29 Kris Kitchen
Co-Creating Craft 2014 - heritage as a site for innovationCraftspace
The work on display here is the outcome of an international research project led by Falmouth University and Craftspace with Birmingham based partners; The Wesleyan Community Care Project and Soho House Museum in Handsworth and Dublin based partners Bealtaine Festival, Dublin Castle and the Office of Public Works.
The project is funded by the Arts and Humanities Research Council through its Connected Communities Programme.
Research Questions
How does learning through craft, sharing, making and reflecting develop skills and creativity?
How can people work purposefully and enjoyably in the second half of life?
How can we create a sense of opportunity about the second half of life - to take stock, reskill, plan ahead, connect with others and live more healthily.
The project
Community participants aged 50+ in Birmingham and Dublin conducted a creative and skills exchange using online tools like skype. Each group used a heritage building, Soho House Museum and Dublin Castle, and their associated histories and collections as inspirational starting points.
Designer Maker Natalie Cole facilitated 8 creative sessions. We wanted to explore the potential for participants to craft together for pleasure and well-being, as well as making to sell as a social enterprise.
The Process
The Birmingham and Dublin groups began with a visit to Soho House Museum and Dublin Castle recording them through photographs and drawings. They then selected a motif, shape, pattern or theme from which to develop designs.
They combined hand making with cutting edge digital technology. Participants collaborated with Makernow a community digital fabrication lab at Falmouth University. Their drawings were made into digital files and sent to the lab and produced into components through laser cutting and digital milling machines.
For most participants, this project has enabled them to become digitally aware for the first time. They now have some knowledge of computer aided design and the possibilities of creating new tools, for example blocks for printing as well as components for products.
Makernow digital studio session www.makernow.co.uk
cocreatingcare.wordpress.com
www.craftspace.co.uk
International Entrepreneurship in the Arts: Unexpected PartnershipLidia Varbanova
Unexpected Partnership: New spaces for creation and creativity: How do we support them?" Presented by Lidia Varbanova at IFACCA 7th World Summit, Malta, October, 2016
Hannah Fox is the Project Director for the Silk Mill Project at Derby Museums. She has removed an embarrassing photo of herself from when she was 17 years old. Derby Museums' 2012-2015 aims included establishing the museums trust as an independent organization, redeveloping the Silk Mill as a major attraction, and ensuring community engagement is embedded in all aspects of the museums' work. The document provides information on Hannah Fox's role and background, as well as outlining Derby Museums' past aims and goals regarding community engagement and redevelopment projects.
The document discusses the evolving roles of arts organizations and cultural managers. It argues that arts marketing should focus on "making more meaning" rather than "making more money" by engaging audiences with complex ideas and intellectual/spiritual stimulation. It also describes how arts organizations, artists' work, audiences, and cultural policies are changing, requiring arts managers to take on relationships management and ensure accessibility through online platforms and international collaborations. Mobility of artworks and artists is important for exposing different cultures and viewpoints.
Breakout session given by Encounters Arts Devon was part of the Cultural Commissioning National Seminar in London on the 6th June 2014.
Find out more about Cultural Commissioning Programme. http://www.ncvo.org.uk/practical-support/public-services/cultural-commissioning-programme
How & why we may form international partnershipsJames Doyle
International partnerships between arts organisations and artists can provide mutual benefits. Organisations seek to showcase international art, engage local communities, and provide professional development opportunities for artists. Artists pursue opportunities to create new work, access studio space, engage with other creative people, and enhance their practice. The greatest synergies occur when the needs of organisations and artists align, such as organisations offering programming that supports artists' interests in sharing ideas, developing skills, and building relationships. Forming international links requires clearly articulating shared passions to develop meaningful long-term partnerships driven by mutual interests rather than solely financial incentives.
Feeling the fear and doing it anyway - Hannah Fox, Derby MuseumsMuseumNext
This document discusses the reimagining of the Derby Silk Mill as the Museum of Making from 2015-2017. It outlines commitments of £17 million to take the concept to the next stage, and prototypes the architectural and exhibition design ideas using a human-centered design process of defining, understanding, thinking, imagining, modeling, prototyping, testing and evaluating. It emphasizes co-producing the museum and engaging people emotionally, creatively and intellectually through the collections.
Creative ideas…
are just that unless you can make them happen.
CreativeDynamix @ the intersection of Arts | Enterprise | Community in modern Ireland.
A conversation in cultural enterprise with MA members in Cultural Policy and Arts Management UCD, February 2011
The document describes the Arts Connect WM Film and Digital Arts Project, which aims to create digital interpretations of museum, library, and heritage collections through collaborations between these institutions and artists. The project will invite artists to creatively respond to collections and propose digital art installations created with and for children and young people. Its objectives are to explore collections in new ways, integrate digital arts into venues, build skills in digital arts among staff and artists, and engage young people as collaborators. The document requests that interested institutions express interest in working with artists to bring collections to new audiences through digital platforms.
Benefits of a Community Based Exhibition ProjectMelissa Hempel
Listening to all voices in a community allows art organizations to offer a safe outlet for expression through art projects, developing skills and building community. Placing ultimate importance on the process of creating art and community partnerships, Hidden Voices exhibition participants have ranged from teenage graffiti offenders to women who have experienced domestic violence to senior citizens. Art Access connects lives through making art that shares experiences. This session examines the lasting benefits of community-based projects for both the organizations and the selected participants.
Benefits of a Community-Based Exhibition ProjectWest Muse
Listening to all voices in a community allows art organizations to offer a safe outlet for expression through art projects, developing skills and building community. Placing ultimate importance on the process of creating art and community partnerships, 'Hidden Voices' exhibition participants have ranged from teenage graffiti offenders to women who have experienced domestic violence to senior citizens. Art Access connects lives through making art that shares experiences. This session examines the lasting benefits of community-based projects for both the organizations and the selected participants.
Moderator: Rebekah Monahan, Registrar, Woodbury Art Museum
Presenters: Antonio Castillo, Gang Prevention Specialist, Provo School District
Carlyn Barrus, Community Artist
Melissa Hempel, Interim Director/Curator, Woodbury Art Museum
Sheryl Gillilan, Director, Art Access
This document introduces Arts-Informed Evaluation as a creative approach to assessing community arts practices. It discusses community arts practices, traditional approaches to evaluation, and then defines Arts-Informed Evaluation. Arts-Informed Evaluation uses artistic processes and creative expression to capture all aspects of community arts programs and their impact in a way that traditional evaluation methods cannot. The document provides an overview of Arts for Children and Youth (AFCY), the organization piloting this approach. It explains how AFCY uses community arts programs to empower marginalized youth and build community. The handbook aims to help community artists and organizations understand and apply Arts-Informed Evaluation to reflect on and communicate the full value of their work.
The document provides information about the client, Sunderland Culture, and the target audience for a project. Sunderland Culture is a nonprofit organization established in 2016 with a mission to improve quality of life through culture in Sunderland, England. The target audience for the project is 16-25 year olds, so bright colors and engaging design will be important. Potential issues include budget constraints and copyright clearance.
TMA Director Brian Kennedy made formal presentations to our board and staff the week of December 6 regarding preliminary findings and overall direction after Phase 1 of our strategic planning process. The complete presentation is here. This is a draft document only and is meant to generate additional thought and an outline for future planning. Your questions and comments are welcome.
Bring the People In! Community Curation and Prototyping ExhibitsWest Muse
This session will explore how museums can engage community audiences to create exhibitions together, adding both content and relevance to the work the museum does. From prototyping panels
and topics to requesting photographs and stories from the community, this session will challenge participants to create exhibitions that truly have the museum’s audience in mind.
MODERATOR: Dana Whitelaw, Executive Director, High Desert Museum
PRESENTERS: Sarah Seiter, Curator of Natural Sciences, Oakland Museum of California; Tyler Stewart, Independent Curator
Increasing Civic Impact: Structural and Branding Opportunities | Opera Philad...OPERA America
The document outlines plans for an opera company to better serve its audience, local youth, and community. It discusses:
- Past pilot projects from 2007-2017 that engaged local youth through workshops and performances.
- The mission to propel the genre of opera, work with the best artists, and have programming that resonates with the city.
- Strategies to develop future audiences through community initiatives, ticket programs for schools, and enhanced experiences for patrons.
- Ways to support local youth through arts education, mentorship, collaborations, and opportunities for families.
- Efforts to make the arts accessible to communities and better connect neighborhoods.
The document discusses the Academy of Pop Culture's Island CQ project, which brought together students from different universities in multiple countries to explore challenges facing the modern world from perspectives of art, technology, society and sustainability. Over several days and workshops, 50 students developed interactive installations, documentaries, movies and websites connecting their work to the landscape and people of Ameland Island in the Netherlands. The project aimed to foster interdisciplinary and international collaboration among young talent to develop innovative solutions for issues like sustainable tourism.
The Museum of Arts and Design is welcoming an educator group to visit the exhibition "Second Lives: Remixing the Ordinary". The exhibition features works by 40 artists from 17 countries that transform everyday discarded objects into art. Students will get a tour from an educator and do a hands-on art project. To enhance the experience, educators are encouraged to use the provided packet with classroom activities before and after the visit. The packet includes topics, writing prompts, and art projects related to exhibition themes of identity, power/politics, repurposing, and function. The museum staff looks forward to the students' visit and hopes it will inspire thought about how artists can transform objects.
This document summarizes a public art project called "The Points of Intersection" commissioned for the Allia Future Business Centre in Cambridge. It thanks the organizations and individuals who supported the project. It describes how the artists were selected to create works reflecting themes of nature and sustainability. A photo mosaic was created from over 15,000 images to represent the support received by Allia from the community and tenants. The art aims to illustrate how Allia supports its users and neighbors.
Boudoir photography, a genre that captures intimate and sensual images of individuals, has experienced significant transformation over the years, particularly in New York City (NYC). Known for its diversity and vibrant arts scene, NYC has been a hub for the evolution of various art forms, including boudoir photography. This article delves into the historical background, cultural significance, technological advancements, and the contemporary landscape of boudoir photography in NYC.
International Entrepreneurship in the Arts: Unexpected PartnershipLidia Varbanova
Unexpected Partnership: New spaces for creation and creativity: How do we support them?" Presented by Lidia Varbanova at IFACCA 7th World Summit, Malta, October, 2016
Hannah Fox is the Project Director for the Silk Mill Project at Derby Museums. She has removed an embarrassing photo of herself from when she was 17 years old. Derby Museums' 2012-2015 aims included establishing the museums trust as an independent organization, redeveloping the Silk Mill as a major attraction, and ensuring community engagement is embedded in all aspects of the museums' work. The document provides information on Hannah Fox's role and background, as well as outlining Derby Museums' past aims and goals regarding community engagement and redevelopment projects.
The document discusses the evolving roles of arts organizations and cultural managers. It argues that arts marketing should focus on "making more meaning" rather than "making more money" by engaging audiences with complex ideas and intellectual/spiritual stimulation. It also describes how arts organizations, artists' work, audiences, and cultural policies are changing, requiring arts managers to take on relationships management and ensure accessibility through online platforms and international collaborations. Mobility of artworks and artists is important for exposing different cultures and viewpoints.
Breakout session given by Encounters Arts Devon was part of the Cultural Commissioning National Seminar in London on the 6th June 2014.
Find out more about Cultural Commissioning Programme. http://www.ncvo.org.uk/practical-support/public-services/cultural-commissioning-programme
How & why we may form international partnershipsJames Doyle
International partnerships between arts organisations and artists can provide mutual benefits. Organisations seek to showcase international art, engage local communities, and provide professional development opportunities for artists. Artists pursue opportunities to create new work, access studio space, engage with other creative people, and enhance their practice. The greatest synergies occur when the needs of organisations and artists align, such as organisations offering programming that supports artists' interests in sharing ideas, developing skills, and building relationships. Forming international links requires clearly articulating shared passions to develop meaningful long-term partnerships driven by mutual interests rather than solely financial incentives.
Feeling the fear and doing it anyway - Hannah Fox, Derby MuseumsMuseumNext
This document discusses the reimagining of the Derby Silk Mill as the Museum of Making from 2015-2017. It outlines commitments of £17 million to take the concept to the next stage, and prototypes the architectural and exhibition design ideas using a human-centered design process of defining, understanding, thinking, imagining, modeling, prototyping, testing and evaluating. It emphasizes co-producing the museum and engaging people emotionally, creatively and intellectually through the collections.
Creative ideas…
are just that unless you can make them happen.
CreativeDynamix @ the intersection of Arts | Enterprise | Community in modern Ireland.
A conversation in cultural enterprise with MA members in Cultural Policy and Arts Management UCD, February 2011
The document describes the Arts Connect WM Film and Digital Arts Project, which aims to create digital interpretations of museum, library, and heritage collections through collaborations between these institutions and artists. The project will invite artists to creatively respond to collections and propose digital art installations created with and for children and young people. Its objectives are to explore collections in new ways, integrate digital arts into venues, build skills in digital arts among staff and artists, and engage young people as collaborators. The document requests that interested institutions express interest in working with artists to bring collections to new audiences through digital platforms.
Benefits of a Community Based Exhibition ProjectMelissa Hempel
Listening to all voices in a community allows art organizations to offer a safe outlet for expression through art projects, developing skills and building community. Placing ultimate importance on the process of creating art and community partnerships, Hidden Voices exhibition participants have ranged from teenage graffiti offenders to women who have experienced domestic violence to senior citizens. Art Access connects lives through making art that shares experiences. This session examines the lasting benefits of community-based projects for both the organizations and the selected participants.
Benefits of a Community-Based Exhibition ProjectWest Muse
Listening to all voices in a community allows art organizations to offer a safe outlet for expression through art projects, developing skills and building community. Placing ultimate importance on the process of creating art and community partnerships, 'Hidden Voices' exhibition participants have ranged from teenage graffiti offenders to women who have experienced domestic violence to senior citizens. Art Access connects lives through making art that shares experiences. This session examines the lasting benefits of community-based projects for both the organizations and the selected participants.
Moderator: Rebekah Monahan, Registrar, Woodbury Art Museum
Presenters: Antonio Castillo, Gang Prevention Specialist, Provo School District
Carlyn Barrus, Community Artist
Melissa Hempel, Interim Director/Curator, Woodbury Art Museum
Sheryl Gillilan, Director, Art Access
This document introduces Arts-Informed Evaluation as a creative approach to assessing community arts practices. It discusses community arts practices, traditional approaches to evaluation, and then defines Arts-Informed Evaluation. Arts-Informed Evaluation uses artistic processes and creative expression to capture all aspects of community arts programs and their impact in a way that traditional evaluation methods cannot. The document provides an overview of Arts for Children and Youth (AFCY), the organization piloting this approach. It explains how AFCY uses community arts programs to empower marginalized youth and build community. The handbook aims to help community artists and organizations understand and apply Arts-Informed Evaluation to reflect on and communicate the full value of their work.
The document provides information about the client, Sunderland Culture, and the target audience for a project. Sunderland Culture is a nonprofit organization established in 2016 with a mission to improve quality of life through culture in Sunderland, England. The target audience for the project is 16-25 year olds, so bright colors and engaging design will be important. Potential issues include budget constraints and copyright clearance.
TMA Director Brian Kennedy made formal presentations to our board and staff the week of December 6 regarding preliminary findings and overall direction after Phase 1 of our strategic planning process. The complete presentation is here. This is a draft document only and is meant to generate additional thought and an outline for future planning. Your questions and comments are welcome.
Bring the People In! Community Curation and Prototyping ExhibitsWest Muse
This session will explore how museums can engage community audiences to create exhibitions together, adding both content and relevance to the work the museum does. From prototyping panels
and topics to requesting photographs and stories from the community, this session will challenge participants to create exhibitions that truly have the museum’s audience in mind.
MODERATOR: Dana Whitelaw, Executive Director, High Desert Museum
PRESENTERS: Sarah Seiter, Curator of Natural Sciences, Oakland Museum of California; Tyler Stewart, Independent Curator
Increasing Civic Impact: Structural and Branding Opportunities | Opera Philad...OPERA America
The document outlines plans for an opera company to better serve its audience, local youth, and community. It discusses:
- Past pilot projects from 2007-2017 that engaged local youth through workshops and performances.
- The mission to propel the genre of opera, work with the best artists, and have programming that resonates with the city.
- Strategies to develop future audiences through community initiatives, ticket programs for schools, and enhanced experiences for patrons.
- Ways to support local youth through arts education, mentorship, collaborations, and opportunities for families.
- Efforts to make the arts accessible to communities and better connect neighborhoods.
The document discusses the Academy of Pop Culture's Island CQ project, which brought together students from different universities in multiple countries to explore challenges facing the modern world from perspectives of art, technology, society and sustainability. Over several days and workshops, 50 students developed interactive installations, documentaries, movies and websites connecting their work to the landscape and people of Ameland Island in the Netherlands. The project aimed to foster interdisciplinary and international collaboration among young talent to develop innovative solutions for issues like sustainable tourism.
The Museum of Arts and Design is welcoming an educator group to visit the exhibition "Second Lives: Remixing the Ordinary". The exhibition features works by 40 artists from 17 countries that transform everyday discarded objects into art. Students will get a tour from an educator and do a hands-on art project. To enhance the experience, educators are encouraged to use the provided packet with classroom activities before and after the visit. The packet includes topics, writing prompts, and art projects related to exhibition themes of identity, power/politics, repurposing, and function. The museum staff looks forward to the students' visit and hopes it will inspire thought about how artists can transform objects.
This document summarizes a public art project called "The Points of Intersection" commissioned for the Allia Future Business Centre in Cambridge. It thanks the organizations and individuals who supported the project. It describes how the artists were selected to create works reflecting themes of nature and sustainability. A photo mosaic was created from over 15,000 images to represent the support received by Allia from the community and tenants. The art aims to illustrate how Allia supports its users and neighbors.
Similar to Craftspace work and projects 2014-2016 (20)
Boudoir photography, a genre that captures intimate and sensual images of individuals, has experienced significant transformation over the years, particularly in New York City (NYC). Known for its diversity and vibrant arts scene, NYC has been a hub for the evolution of various art forms, including boudoir photography. This article delves into the historical background, cultural significance, technological advancements, and the contemporary landscape of boudoir photography in NYC.
The cherry: beauty, softness, its heart-shaped plastic has inspired artists since Antiquity. Cherries and strawberries were considered the fruits of paradise and thus represented the souls of men.
This document announces the winners of the 2024 Youth Poster Contest organized by MATFORCE. It lists the grand prize and age category winners for grades K-6, 7-12, and individual age groups from 5 years old to 18 years old.
Heart Touching Romantic Love Shayari In English with ImagesShort Good Quotes
Explore our beautiful collection of Romantic Love Shayari in English to express your love. These heartfelt shayaris are perfect for sharing with your loved one. Get the best words to show your love and care.
Fashionista Chic Couture Maze & Coloring Adventures is a coloring and activity book filled with many maze games and coloring activities designed to delight and engage young fashion enthusiasts. Each page offers a unique blend of fashion-themed mazes and stylish illustrations to color, inspiring creativity and problem-solving skills in children.
Hadj Ounis's most notable work is his sculpture titled "Metamorphosis." This piece showcases Ounis's mastery of form and texture, as he seamlessly combines metal and wood to create a dynamic and visually striking composition. The juxtaposition of the two materials creates a sense of tension and harmony, inviting viewers to contemplate the relationship between nature and industry.
This tutorial offers a step-by-step guide on how to effectively use Pinterest. It covers the basics such as account creation and navigation, as well as advanced techniques including creating eye-catching pins and optimizing your profile. The tutorial also explores collaboration and networking on the platform. With visual illustrations and clear instructions, this tutorial will equip you with the skills to navigate Pinterest confidently and achieve your goals.
2. Crafts development organisation & creative producer – 30 years
•Pioneering creative producer commissioning exceptional, world class contemporary craft
•Connecting creative practice with diverse communities
•Cultural, social, economic value of craft in society (contributing to social/human capital)
Outcomes:
For artists
Artistic and personal development, increased capacity to engage with audiences, increased
employment and profile, experimentation, stimulating innovation and sales of work.
For craft in venues and unconventional spaces
Increased market share and profile for craft, increased knowledge and awareness of what the artform
can offer, cross over audiences, new audiences, enhanced knowledge for existing audiences and
increased relevance of craft.
For audiences and participants:
Creative learning, transformation, well-being, skills development and social cohesion.
For Non-arts partnerships:
Building capacity in non-arts sector partners to engage with professional artists and use creativity to
achieve their objectives.
3. Evidence of Impact:
Feedback received from community venue partners for Making Moves (MM).
“The venue has benefitted hugely through the residency. It opened their eyes to their potential,
opened their mind to what they could do with their venue. They now have an artist in residence which
has united their customers. This has become a feature for the pub and given the pub a different
image, almost softening this edgy pub.”
“MM was successful in changing venue staff’s negative perceptions about having exhibitions in their
spaces, in addition to the possibilities of contemporary craft in engaging communities.” Christine
Maloney, Area Librarian South Leamington Spa Main Library
•We received positive feedback from individual visitors who do not usually engage with contemporary
crafts. Visitors were fascinated by the techniques, ideas, processes and diversity of the craft
exhibited.” Hereford
•“Exciting and strange use of materials - refreshing.” visitor
•“Really enjoyed seeing how crafters are developing their practice in modern and innovative ways.
Very inspirational!” visitor
•“Loved seeing craft techniques I’d never encountered before.” visitor
•“Delighted and thoughtful about what constitutes craft.” visitor
•“I enjoyed the balance of fine making skills and a clear intellectual position.” visitor
•“It made me feel inspired to make pieces like these or rather using the methods exemplified -
dialogue; collaboration and time.” visitor
4. Participants
•“It‘s made me so much more confident with art and I am so pleased with my piece. I just want to
come back and do something else. ..I now know you don’t have to be good at drawing to produce
something.” participant
•“Just wanted to drop you an email. It was about this time 4 years ago when I went to the Custard
Factory the day before my birthday to an event of Craftspace involving free jacket potatoes and xmas
stocking kit, sugar craft, speed pom pom making, badge making, string art and a computer game
involving an owl and an electric guitar! Anyway had an awesome day met an artist…(four years later).
Today I ran a speed pom pom making and weaving workshop at Friction Arts with 6 people.” Sara
Fowler, member of youth craft collective
•“It wasn’t overpowering by the people running it, you could just drop in and they would start you
going, get the first few weaves going and then you could sit and do it by yourself. You didn’t have
anyone watching over your shoulder, you could be independent and take it where you wanted.”
Craftspace youth craft collective
•“The whole experience, meeting all these new people, learning all these new skills. I especially like
the group of us now as everyone is from different backgrounds. I’ve been doing loads of wire work
that Roger started and I can’t stop doing it. Getting involved in it, it is so nice to see people who want
to have a go and then they start and they get really in to it.” Craftspace youth craft collective
•“I learnt I usually got a short attention span but I can engage and get proper into it, (I’ve gained)
knowledge to become independent when it comes to DIY. I’ve always relied on my dad.” Kelly Making
My Home project
•“I’ve been looking to go to college. I might do something in music or art. This course has made me
think about that.” Martin Making My Home project
5. Audience Development Goals:
Increase opportunities for audiences/people least engaged in arts and culture to encounter and
experience contemporary craft practice and process.
We will do this through:
Breadth of programming which includes commissioning work and activity in range of
unconventional, non-gallery, non-traditional places and spaces in the public realm.
Co-devised participatory and socially engaged artists’ residency based projects developed in
partnership with other organisations.
Provide further opportunities to enhance the depth and quality of people’s cultural experiences
We will do this through:
Co-devised participatory and socially engaged artists’ residency based projects developed in
partnership with other organisations.
Providing enriched content and a range of interpretation methods within touring exhibitions.
Increase and diversify the range of people experiencing or engaging in contemporary craft
We will do this through:
Commissioning interdisciplinary work which interacts craft with a range of other artforms
and media through a ‘craft in an expanded field’ strand.
6. Audience Development Goals:
Provide opportunities for a greater range and number of artists and participants to make and show
craft for public view
We will do this through:
Curating a touring exhibition of ‘Outsider Craft’
Continuing to develop Shelanu women’s craft collective and social enterprise as a model to
transition people from being beneficiaries of arts activity into creative producers.
Increase the number of people engaging with digital content
We will do this through:
Redesigning our website as a hub for all digital content
Investing in artistic digital commissions
Providing a range of enriched content linked to exhibitions and projects
7. Making My Home
Vulnerable young people 16+
Partners: St Basils (working with homeless people), 6/8 Kafe
8. In:Site Festival 2014
Site specific artwork made by new graduates in Cathedral Square
free to watch and take part
Partners: Colmore Business District, Birmingham Cathedral,
6/8 Kafe, A-N website. Supported by John Feeney Trust
10. Co-creating Craft
AHRC funded action research project to test & develop a methodology for co-produced
community learning through creative practice, skill-sharing and storytelling
People aged 50+
Partners: Falmouth University, Bealtaine Festival Dublin, Office of Public Works Dublin, Soho House Museum,
Wesleyan Community Centre
Phase 2 bid: crafting around the stimulus of a heritage location, building on the nationwide networks of Fab
Labs and Scrap Stores to bring the means of production back to being a local community asset, and rooting
making within a community through a local economic model.
11. Making Moves II
Toured 7 community venues across the West Midlands including a hospital,
railway stations & a shopping centre
Partners: 4 regional HE colleges (BCU, Staffordshire, Coventry and Wolverhampton), 6 Local Authorities
(Birmingham City Council, Staffordshire County Council, Warwickshire County Council, Warwick District
Council, Dudley Metropolitan District Council and Wyre Forest District Council)
12. Making Moves III - 2015-16
Artists residencies hosted in community venues, graduate placements,
exhibition touring to community venues eg railway stations, hospitals, leisure centres.
East & West Midlands & piloted in Plymouth. Led by Craftspace & Staffs County Council
Arts Dev – 9/10 partnerships between HEI/FE + local authority.
13. Self taught artists “…extraordinary works created by people who are in some way on the margins
of society, and who, for whatever mixture of reasons, find themselves unable to fit into the
conventional requirements – social and psychological, as well as artistic – of the culture they
inhabit.”
Radical Craft – March 2016
touring exhibition 8 venues nationally
Partners: Outside In, Pallant House Gallery, Actionspace
14. 35 artists from the Midlands, selling exhibition, symposium
Made in the Middle – Dec 2016
Eight in the series: touring exhibition East & West Midlands
Partner: Herbert Art Gallery and Museum Coventry