The document summarizes a large art project created by tenants of the Brisbane Common Ground housing complex. Tenants collaborated over two years to create a mural depicting a tree growing up the building's elevator shafts. The project helped integrate tenants, build community, and address stigma around supportive housing. It received funding and support from Micah Projects and local organizations. The finished mural was well received and helped change perceptions of the tenants. It also provided opportunities for further art education.
A group of students from two universities explored Second Life to study its business and cultural aspects. As newcomers, they found it difficult to navigate and understand the virtual world. Their progress was hindered by a lack of time and difficulties accessing the platform. However, they observed how Second Life facilitates online community, commerce, and culture. The group visited several islands that effectively used Second Life for purposes like education, advertising, and virtual meetings. They learned collaboration in Second Life was challenging without in-person interactions but sharing interests with teammates was rewarding. They concluded Second Life is constantly changing and its future depends on its developer and users.
A group of students from two universities explored Second Life to study its business and cultural aspects. As newcomers, they found it overwhelming and confusing to navigate. Their progress was hindered by a lack of time and difficulties accessing the platform without investing money. However, they also found other avatars helpful. The students observed Second Life being used for virtual communities, commerce, and real-world events. Examples of effective spaces included an orientation island, recreations of the Sistine Chapel and Cisco technology park, and a jazz club. The students learned collaboration was difficult without in-person meetings but sharing interests with teammates was rewarding. They concluded Second Life is always changing and its future depends on its developers and users.
Deb Withey — SND Lifetime Achievement AwardSND Update
At the SND Workshop in Cleveland this fall the Society for News Design gave its Lifetime Achievement Award to Deb Withey, formerly of the Virginian-Pilot and before that Knight Ridder.
The document appears to be a summary of tweets and discussions from the #RedeyeNetwork event on November 26, 2013 in Manchester, UK. It includes tweets on topics like what it means to be a 21st century photographer, rethinking photoeducation, developing new partnerships and collaborations, the role of the curator, archiving images online, and challenges around scale and visibility in social media. Speakers at the event like Jonathan Shaw shared their presentations and perspectives on emerging issues and opportunities in photography.
"Daljinska detekcija" - predavanje Čedomira Stankovića u okviru projekta "Astronomija selu u pohode".
Projekat "Astronomija selu u pohode" realizuje Astronomsko društvo "Alfa" iz Niša u saradnji sa Prirodno-matematičkim fakultetom u Nišu uz poršku Centra za promociju nauke.
This document provides an overview of remote sensing through a seminar presented by Ashwathy Babu Paul. It defines remote sensing as obtaining information about an object without physical contact through electromagnetic radiation. It describes the basic components and process of remote sensing systems including energy sources, sensor recording, transmission and processing. Various sensors and platforms are discussed along with advantages and applications in fields like agriculture, natural resource management, national security, geology, meteorology, and more. Challenges are addressed but advantages of remote sensing are said to far outweigh these.
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.
This document summarizes a research project examining how public art incorporates the history of Glasgow's East End into regeneration initiatives. It outlines the research aims, which are to analyze how and why new buildings reference the area's social and industrial heritage through images and text. It also discusses how decisions are made around selecting and representing spatial narratives. The document then provides context around public art and placemaking from academic literature. It examines several case studies of regeneration projects in Glasgow and how they attempt to connect people to place through heritage and art.
A group of students from two universities explored Second Life to study its business and cultural aspects. As newcomers, they found it difficult to navigate and understand the virtual world. Their progress was hindered by a lack of time and difficulties accessing the platform. However, they observed how Second Life facilitates online community, commerce, and culture. The group visited several islands that effectively used Second Life for purposes like education, advertising, and virtual meetings. They learned collaboration in Second Life was challenging without in-person interactions but sharing interests with teammates was rewarding. They concluded Second Life is constantly changing and its future depends on its developer and users.
A group of students from two universities explored Second Life to study its business and cultural aspects. As newcomers, they found it overwhelming and confusing to navigate. Their progress was hindered by a lack of time and difficulties accessing the platform without investing money. However, they also found other avatars helpful. The students observed Second Life being used for virtual communities, commerce, and real-world events. Examples of effective spaces included an orientation island, recreations of the Sistine Chapel and Cisco technology park, and a jazz club. The students learned collaboration was difficult without in-person meetings but sharing interests with teammates was rewarding. They concluded Second Life is always changing and its future depends on its developers and users.
Deb Withey — SND Lifetime Achievement AwardSND Update
At the SND Workshop in Cleveland this fall the Society for News Design gave its Lifetime Achievement Award to Deb Withey, formerly of the Virginian-Pilot and before that Knight Ridder.
The document appears to be a summary of tweets and discussions from the #RedeyeNetwork event on November 26, 2013 in Manchester, UK. It includes tweets on topics like what it means to be a 21st century photographer, rethinking photoeducation, developing new partnerships and collaborations, the role of the curator, archiving images online, and challenges around scale and visibility in social media. Speakers at the event like Jonathan Shaw shared their presentations and perspectives on emerging issues and opportunities in photography.
"Daljinska detekcija" - predavanje Čedomira Stankovića u okviru projekta "Astronomija selu u pohode".
Projekat "Astronomija selu u pohode" realizuje Astronomsko društvo "Alfa" iz Niša u saradnji sa Prirodno-matematičkim fakultetom u Nišu uz poršku Centra za promociju nauke.
This document provides an overview of remote sensing through a seminar presented by Ashwathy Babu Paul. It defines remote sensing as obtaining information about an object without physical contact through electromagnetic radiation. It describes the basic components and process of remote sensing systems including energy sources, sensor recording, transmission and processing. Various sensors and platforms are discussed along with advantages and applications in fields like agriculture, natural resource management, national security, geology, meteorology, and more. Challenges are addressed but advantages of remote sensing are said to far outweigh these.
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.
This document summarizes a research project examining how public art incorporates the history of Glasgow's East End into regeneration initiatives. It outlines the research aims, which are to analyze how and why new buildings reference the area's social and industrial heritage through images and text. It also discusses how decisions are made around selecting and representing spatial narratives. The document then provides context around public art and placemaking from academic literature. It examines several case studies of regeneration projects in Glasgow and how they attempt to connect people to place through heritage and art.
A slightly enlarged version of a talk given on the panel "Bringing together theory and practice in digital museum communication" with Allegra Burnette, Costis Dallas, Lev Manovich, Susan Hazan, and Sarah Kenderdine. Museums & the Web, San Diego, CA, April 13, 2012. The discussion was just getting underway when the hour ended!
This document discusses how art can be used to promote social change and justice. It provides examples of art projects from around the world that have addressed social issues. The NAEA recognizes that art education can raise awareness of inequities and motivate people to take action for positive change. Artists often use their work to engage with important issues of the time. Examples mentioned include The Inside Out Project, Pinwheels for Peace, One Million Bones, and students rebuilding their communities through art.
Museums, Social Justice, and Civic Engagement in the Land of EnchantmentWest Muse
Through exhibits and programs the Las Cruces Museum System, the National Hispanic Cultural Center Art Museum, and the University of New Mexico Art Museum have encouraged museumgoers to think about social justice and the role civic engagement plays in achieving it. Panelists will discuss the complexities of exploring challenging subject matter in museums such as race relations, migration, and police violence; why it’s critical that we do so; and ways to navigate these challenges. #bravespace
"Wandering Ruins" by Becky Manson from Tate (UK)WeAreMuseums
Becky Manson was presented at We Are Museums 2014 the most recent Art Maps workshop, Wandering Ruins. Taking the recent Ruin Lust exhibition at Tate Britain as a starting point, participants used Tate’s online collection, locative media and a variety of digital content to create online trail experiences, via mobile devices. This collaborative project encourages both authors and users to explore the connections between landscape, landmark, art and a sense of place, as well as interrogating the what technology might add to and detract from this process.
Expressions of Place: an interdisciplinary and interactive community event se...nacis_slides
NACIS 2016 Presentation
Diana K.B. Hoover, University of Wisconsin - Stevens Point
In the heart of Wisconsin, where the Menomonie people have lived for many thousands of years, in a small city that houses a medium-sized liberal arts university, some generous and visionary individuals, organizations, and corporations join forces to celebrate culture and reinvigorate community. Fueled by entrepreneurial spirit and passion for the arts, many of the creative collaborations bring together individuals representing diverse perspectives. One of these undertakings is the upcoming event series, Expressions of Place sponsored by the College of Fine Arts and Communication at the University of Wisconsin-Stevens Point. During this talk I will present the genesis for this project, the variety of arts and geography mash-ups in the program, some obstacles encountered as well as discoveries made while organizing this compendium on mapping, sensing, living and expressing Place.
Lost + Found : Transitioning from the Street into Permanent Housing - Degree ...kdziobek
The document discusses various unconventional housing solutions that homeless individuals in Providence, Rhode Island created for themselves when shelters were at capacity or unsuitable, including tent communities called Hope City, Camp Runamuck, and Provitents, as well as makeshift shelters constructed by individuals out of found materials. It also shares comments from homeless individuals about the difficulties of living without stable housing, such as the health risks of shelters and challenges maintaining employment without a place to sleep or store possessions.
This document provides an analysis of how children's art education is influenced by concepts from the fine art institution and the National Curriculum in the UK. It first reviews basic concepts in fine art, such as the evolving role of the artist over time. It then examines how children's artwork fits within the context of these concepts, noting debates around whether children can produce art. It also looks at examples of exhibitions featuring children's art. Finally, it analyzes how the National Curriculum, the major influence on children's art education, incorporates or does not incorporate concepts from the fine art institution in its approach.
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
The document summarizes an upcoming event called Torchlight at the Art Institute of Chicago on November 4th, 2016. It will celebrate the annual gathering of the Providence family and the "Art of Caring" theme. Details are provided about the location, theme, activities, and how to get tickets. Updates are also given on new staff, locations, and programs for Providence Life Services.
This document discusses how social media has turned people's online activities and interactions into a form of art. It explores the concept of a "total work of art" or Gesamtkunstwerk where all of society is sculpted through human interactions and media. Some view social media as a threat to traditional art, but it has opened new opportunities for artists by providing an open platform and the ability to reach vast audiences. The document examines several social media art projects and argues that if online data and social networks stimulate emotions or intellect, then social media can be considered a new canvas for art.
Savona Bailey-McClain is an independent curator and executive director of The West Harlem Art Fund in New York City. She curates public art installations in many NYC neighborhoods, including Times Square, Harlem, DUMBO, and the Bronx. Her practice includes sculpture, drawings, performance art, and mixed media. McClain strives to make art approachable and connect meaningfully with the public. She has a liberal arts degree from the University of Pittsburgh.
Using mobilities-informed methods to support new approaches to arts evaluationjenrossity
This document discusses using mobilities-informed methods to support new approaches to arts evaluation. It focuses on evaluating the ARTIST ROOMS collection, which is made up of over 725 works of international contemporary art shared throughout the UK. The research aims to understand how mobilities approaches can enrich arts evaluation and influence current practices. It designed and piloted an artcasting platform to generate location-based responses from visitors in order to gain a richer understanding of their experiences and engagement with the artwork.
This document provides a summary of the Hedonic Map of Austin project, which aims to map shared emotional experiences through public art installations and data collection. The project will engage the public through surveys about memorable places in Austin tied to different emotions. It will then create visualizations of the collected data through kinetic sculptures, location markers, mobile apps, and more. The goal is to reveal what connects communities and give citizens a way to share meaningful experiences that create attachments to places around Austin. The project timeline outlines phases from 2014-2016 that include public exhibitions, an interactive art show, and developing digital platforms to showcase the collected stories and maps.
The Austin Artist Life Alliance seeks to address the lack of affordable housing and studio space for artists in Austin, Texas due to gentrification. The nonprofit will provide housing location assistance and additional programs to help artists live stable and fulfilling lives. It will serve artists located in the Bouldin Creek neighborhood and collaborate with other local housing nonprofits. The board will include local artists, arts administrators, and community members.
The Nasher Sculpture Center has named internationally renowned artist Rick Lowe as its inaugural artist-in-residence. Lowe will continue his community project Trans.lation, which he initiated for the Nasher's 10th anniversary exhibition Nasher XChange. Trans.lation highlights the cultural diversity of the Vickery Meadow neighborhood through workshops, exhibitions, and pop-up markets. Lowe is respected for his successful community art project Project Row Houses in Houston. The residency will allow Lowe to further develop Trans.lation and connect with other Dallas artists and communities.
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.
A slightly enlarged version of a talk given on the panel "Bringing together theory and practice in digital museum communication" with Allegra Burnette, Costis Dallas, Lev Manovich, Susan Hazan, and Sarah Kenderdine. Museums & the Web, San Diego, CA, April 13, 2012. The discussion was just getting underway when the hour ended!
This document discusses how art can be used to promote social change and justice. It provides examples of art projects from around the world that have addressed social issues. The NAEA recognizes that art education can raise awareness of inequities and motivate people to take action for positive change. Artists often use their work to engage with important issues of the time. Examples mentioned include The Inside Out Project, Pinwheels for Peace, One Million Bones, and students rebuilding their communities through art.
Museums, Social Justice, and Civic Engagement in the Land of EnchantmentWest Muse
Through exhibits and programs the Las Cruces Museum System, the National Hispanic Cultural Center Art Museum, and the University of New Mexico Art Museum have encouraged museumgoers to think about social justice and the role civic engagement plays in achieving it. Panelists will discuss the complexities of exploring challenging subject matter in museums such as race relations, migration, and police violence; why it’s critical that we do so; and ways to navigate these challenges. #bravespace
"Wandering Ruins" by Becky Manson from Tate (UK)WeAreMuseums
Becky Manson was presented at We Are Museums 2014 the most recent Art Maps workshop, Wandering Ruins. Taking the recent Ruin Lust exhibition at Tate Britain as a starting point, participants used Tate’s online collection, locative media and a variety of digital content to create online trail experiences, via mobile devices. This collaborative project encourages both authors and users to explore the connections between landscape, landmark, art and a sense of place, as well as interrogating the what technology might add to and detract from this process.
Expressions of Place: an interdisciplinary and interactive community event se...nacis_slides
NACIS 2016 Presentation
Diana K.B. Hoover, University of Wisconsin - Stevens Point
In the heart of Wisconsin, where the Menomonie people have lived for many thousands of years, in a small city that houses a medium-sized liberal arts university, some generous and visionary individuals, organizations, and corporations join forces to celebrate culture and reinvigorate community. Fueled by entrepreneurial spirit and passion for the arts, many of the creative collaborations bring together individuals representing diverse perspectives. One of these undertakings is the upcoming event series, Expressions of Place sponsored by the College of Fine Arts and Communication at the University of Wisconsin-Stevens Point. During this talk I will present the genesis for this project, the variety of arts and geography mash-ups in the program, some obstacles encountered as well as discoveries made while organizing this compendium on mapping, sensing, living and expressing Place.
Lost + Found : Transitioning from the Street into Permanent Housing - Degree ...kdziobek
The document discusses various unconventional housing solutions that homeless individuals in Providence, Rhode Island created for themselves when shelters were at capacity or unsuitable, including tent communities called Hope City, Camp Runamuck, and Provitents, as well as makeshift shelters constructed by individuals out of found materials. It also shares comments from homeless individuals about the difficulties of living without stable housing, such as the health risks of shelters and challenges maintaining employment without a place to sleep or store possessions.
This document provides an analysis of how children's art education is influenced by concepts from the fine art institution and the National Curriculum in the UK. It first reviews basic concepts in fine art, such as the evolving role of the artist over time. It then examines how children's artwork fits within the context of these concepts, noting debates around whether children can produce art. It also looks at examples of exhibitions featuring children's art. Finally, it analyzes how the National Curriculum, the major influence on children's art education, incorporates or does not incorporate concepts from the fine art institution in its approach.
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
The document summarizes an upcoming event called Torchlight at the Art Institute of Chicago on November 4th, 2016. It will celebrate the annual gathering of the Providence family and the "Art of Caring" theme. Details are provided about the location, theme, activities, and how to get tickets. Updates are also given on new staff, locations, and programs for Providence Life Services.
This document discusses how social media has turned people's online activities and interactions into a form of art. It explores the concept of a "total work of art" or Gesamtkunstwerk where all of society is sculpted through human interactions and media. Some view social media as a threat to traditional art, but it has opened new opportunities for artists by providing an open platform and the ability to reach vast audiences. The document examines several social media art projects and argues that if online data and social networks stimulate emotions or intellect, then social media can be considered a new canvas for art.
Savona Bailey-McClain is an independent curator and executive director of The West Harlem Art Fund in New York City. She curates public art installations in many NYC neighborhoods, including Times Square, Harlem, DUMBO, and the Bronx. Her practice includes sculpture, drawings, performance art, and mixed media. McClain strives to make art approachable and connect meaningfully with the public. She has a liberal arts degree from the University of Pittsburgh.
Using mobilities-informed methods to support new approaches to arts evaluationjenrossity
This document discusses using mobilities-informed methods to support new approaches to arts evaluation. It focuses on evaluating the ARTIST ROOMS collection, which is made up of over 725 works of international contemporary art shared throughout the UK. The research aims to understand how mobilities approaches can enrich arts evaluation and influence current practices. It designed and piloted an artcasting platform to generate location-based responses from visitors in order to gain a richer understanding of their experiences and engagement with the artwork.
This document provides a summary of the Hedonic Map of Austin project, which aims to map shared emotional experiences through public art installations and data collection. The project will engage the public through surveys about memorable places in Austin tied to different emotions. It will then create visualizations of the collected data through kinetic sculptures, location markers, mobile apps, and more. The goal is to reveal what connects communities and give citizens a way to share meaningful experiences that create attachments to places around Austin. The project timeline outlines phases from 2014-2016 that include public exhibitions, an interactive art show, and developing digital platforms to showcase the collected stories and maps.
The Austin Artist Life Alliance seeks to address the lack of affordable housing and studio space for artists in Austin, Texas due to gentrification. The nonprofit will provide housing location assistance and additional programs to help artists live stable and fulfilling lives. It will serve artists located in the Bouldin Creek neighborhood and collaborate with other local housing nonprofits. The board will include local artists, arts administrators, and community members.
The Nasher Sculpture Center has named internationally renowned artist Rick Lowe as its inaugural artist-in-residence. Lowe will continue his community project Trans.lation, which he initiated for the Nasher's 10th anniversary exhibition Nasher XChange. Trans.lation highlights the cultural diversity of the Vickery Meadow neighborhood through workshops, exhibitions, and pop-up markets. Lowe is respected for his successful community art project Project Row Houses in Houston. The residency will allow Lowe to further develop Trans.lation and connect with other Dallas artists and communities.
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.
1. HousingWORKS – July 2015 27
FROM THE GROUND
> The healing and unifying quality of art has long been
documented but never so powerfully evidenced as the From
the Ground Up project at Brisbane’s Common Ground.
HousingWORKS hears from a number of people involved in
this epic undertaking.
There’s no way to describe Brisbane Common Ground’s From
the Ground Up artwork and adequately capture the immensity
of the project. Originally conceived in 2013 after the opening
of the 146 apartment-supportive accommodation complex,
it is 13 large canvases symbolically sprouting up through the
building like a tree reflecting the diversity of culture and life
experiences found in the building’s tenant community.
The 13 canvases are installed outside the lifts on each floor
in a position that clearly identifies the floor to the tenant when
stepping out of the lift. Each canvas has been positioned
to align the main tree trunk with the canvases on the floor
above and below it. A stairwell allows this viewing so that the
alignment of the trunks gives the effect of a continuous large
tree growing up through the building.
“It’s an artwork that literally goes from the ground up,” explains
Natasha Rodrigues, the Team Leader for Supportive Housing
for Micah Projects, the organisation that provides essential on-
site support services at Brisbane Common Ground.
“It was created on the ground floor of the Brisbane Common
Ground building with the theme of a large tree trunk, branches
and foliage growing up through the building,” she says. “Every
canvas on every floor is the story of that particular floor, that
particular level. For example, one of the canvases has an open
black cage with birds flying out – escaping – and the person
who did that painting was in prison for long periods of time
before living in Brisbane Common Ground.”
The seeds for the project were sewn shortly after the building’s
opening. Many of the tenants and stakeholders agreed that,
although the building was state of the art, something that
reflected the building’s values – social inclusion, creating
partnerships and integrating tenants into the neighbourhood –
was missing. Micah Projects CEO, Karyn Walsh, encouraged
the tenants to come up with something that expressed those
attributes.
“The tenants deserve a great deal of credit,’ says Natasha
Rodrigues. “But Karyn was the one who said, ‘Let’s do
something – what can we do?’ She sourced the funding for us
[from private donors and government support] and she also
hired John Fitz-Walter to mentor the tenants.”
To shift the project’s trajectory from idea to something more
tangible, Karyn was able to secure funding from Micah Projects’
board; and the Department of Communities, Child Safety and
Disability Services Queensland, as part of the Queensland
Community Care Services. Funding was also secured from the
Federal Government’s Commonwealth Home and Community
Care program.
“School Art Supplies and Speedy School Supplies were also
fantastic with the support they gave us in supplying the actual
canvases, the paints, the brushes… everything!” continues
Natasha. “It was an enormous amount of support that wouldn’t
have seen the project come to fruition if we didn’t have that,
and Karyn deserves so much of the credit for that.”
With the funding secured, the next challenge became apparent:
how to transform the concept into reality.
“The whole idea of how we would go about it came by just
walking up through the building,” says tenant and one of
the driving forces behind the project, Leona Wallace. “We
really didn’t have a tree in mind until after we discussed the
restrictions of space – the size of the canvases we were going
to choose. I came up with the idea to grow a tree because I
associated it with the growth of people. They come here from
bad situations and, hopefully, their situations improve, and they
do, so it’s that idea of growth.”
Under the guidance of John Fitz-Walter, the medium chosen for
the canvases – in this case, collage and acrylic – ensured that
as many tenants as possible, whether of an artistic leaning or
not, could participate.
“We wanted to incorporate people in the building who weren’t
artists,” says Leona. “Some people who thought they couldn’t
do art participated with a lot of scissor work, and ideas as well.
We had projects of just painting sheets of paper the colours of
the trunk, the colours of leaves, and then all the leaves were cut
out.”
(from the left): Leona Wallace (tenant/artist) John Fitz-Walter (artist-
in-residence), Brendon Donohue (artist/resident), Ann O’Sullivan
(artist/resident) Kenneth Pene (artist/resident) and Councillor Hellen
Abrahams, Brisbane City Council.
2. HousingWORKS – July 201528
“We didn’t just use paint,” she continues. “We used real bark
and we glued the real bark onto the trunk of the tree. Someone
made a spider’s web out of string and we built a bird’s nest
out of little twigs and things. We painted all these over, and we
added jewels and little things in various places so it’s not just
straight paint and paper and scissors and glue – there were
other additions. We’ve even got some little curtains in the tree
house.”
“Also,” Natasha adds. “When you look at it, you’ll see the
number 13 canvas is the Milky Way. It has 146 stars in there
to represent the 146 units of Brisbane Common Ground and
every one of those stars was made by the actual tenants of
these units. That was put into the community meals area where
we get close to 40 to 50 tenants, as well as staff, that attend
meals. So that’s become something that brings everybody
together.”
Despite adopting an approach that enabled as many people
as possible to contribute, there was still reticence on behalf of
some to get involved, to the point of presenting the facilitators
with a few serious challenges.
“Probably the biggest obstacle in completing this was getting
tenants involved,” confirms Natasha. “There was a real effort
to overcome a barrier of acceptance. There was a core group
of tenants, and Leona was one of them, where they were very
accepting of other tenants that came into that space or tenants
who just wanted to sit and watch.”
Perhaps fortuitously, it was this hesitation on the part of some
tenants that saw a more inventive approach emerge to fostering
greater tenant engagement.
As Leona explains, “As we went along, we created a number
of ways that we could bring in groups of people, like going up
to the tenant community meal and having people who couldn’t
make it during the day to our art group participate in there.”
Slowly but surely, the perceptions of tenants that were unsure
about the project began to change.
“We continued to invite people,” says Natasha. “We
continuously reminded people that we had a facilitator, that we
were going to assist people if they found it difficult or they were
not comfortable doing any of the artwork.”
“Quite often, people realised it was a non-judgemental and
safe environment to work in, and more about inclusion than
exclusion of people. That sense of acceptance was one of the
most important things that really made the project work.”
“We welcomed people into the art room,” says Leona to
underline Natasha’s thoughts. “Even if they said, ‘I just popped
in to see what you’re doing’, and even if they weren’t 100
percent into the project, we took up their ideas.”
“We got a number of people who actually came in and made
suggestions but didn’t do any artwork,” she continues. “They’d
come in and they would just observe us for half an hour and
3. HousingWORKS – July 2015 29
then say, ‘This would look good here’ or ‘This would look good
there’ and we used those things. And then, of course, there
were those who were not artistic at all, who found that they
could participate – even if it was just hanging sheets of paper or
making something, a simple larger leaf or something. We used
everything people made for the canvases – and many, many
different ideas came in this way.
“The project also worked hard to make room for a more
vulnerable group of tenants than those with simply a healthy
dose of scepticism,” explains Natasha. “We have extremely
vulnerable people who live in this building – there may be health
issues, there may be physical issues and the use of drugs and
alcohol.”
To overcome the challenges of incorporating some of the more
vulnerable Brisbane Common Ground tenants, a number of
simple, yet novel, approaches were adopted.
“Routine was very important for us,” notes Natasha. “So we
made a point, no matter whether there were one or 100 people,
we would still keep the routine of having the art class on a
particular day and time, which was when it would be facilitated
by John Fitz-Walter.”
“People also had 24-hour access to the art room,” she adds.
“What some of them did during that period of time was just
paint leaves or they would paint the bark, as Leona mentioned
earlier. And then that was handed over the day they would have
the art class, and that’s when they did some of the cutting.
Basically, every piece of art that was painted or worked on in
that 24 hour period was used on the project so people realised
whatever they submit will be utilised in the artwork.”
Despite taking twice as long as originally planned to complete,
the finished work was well worth the wait.
“I do a lot of building tours,’ says Common Ground Queensland
CEO, Sonya Keep. “The artwork is something, I think, that
would be people’s favourite thing when they come here to
the building. I think until you see it in real life, you really can't
appreciate how magnificent it really is.”
“Our building is the first supportive housing initiative in
Queensland so it attracts a lot of attention from a broad
range of people who are interested in what we’re doing and
how we’re addressing homelessness,” Sonya continues.
“When people get a chance to see that artwork, they are just
absolutely blown away, and it really makes me proud of our
building and our tenants, and what we’ve been able to achieve
together.”
Apart from the achievements in terms of tenant participation,
the project’s success has led to the formation of a partnership
between Common Ground Queensland, Micah Projects and
Queensland TAFE Brisbane.
Until you see it in real life, you
really can't appreciate how
magnificent it really is.
4. HousingWORKS – July 201530
“One of the artists is now enrolled in a Certificate III in Visual
Arts at TAFE because of displaying that artwork and the calibre
of that artwork,” explains Rikki Pieters, a Project Officer with
Common Ground Queensland.
“The project also helped to consolidate an emerging
partnership to collaborate on a three-dimensional public
sculpture (The Cross-link Art Project) near the entrance
of Brisbane Common Ground. When [TAFE Creative Arts
Director] Carla Reading got the opportunity to meet the artists
firsthand, and to view their works at the unveiling, it provided
her with confidence that a quality community art piece could
be jointly delivered by Brisbane Common Ground tenants and
Queensland TAFE Brisbane students.”
As well as being a launching pad for a range of tenants, From
the Ground Up has also done a power of work in dispelling
myths about social housing tenants. As Sonya Keep explains,
“It really tells a great story to other people who may not have
had an experience of being in a building that does these types
of things or had any interactions with people from vulnerable
backgrounds.”
“It really helps give them a different feeling and view of people
rather than what they might stereotypically think. It’s had
magnificent power to change people’s minds and to give them
a different experience.”
With the project completed and, by all measures, a stunning
success, Leona Wallace enjoys reflecting on the project’s
impact on her daily life at Brisbane Common Ground.
“There’s a lot, which, I think, the tenants have gained from
being part of this,” she says. “It was massive. It took a long time
and sometimes we felt we were never going to get there. We
started from the ground and we didn’t know where we were
going from one canvas to the next, and we developed the ideas
on each particular canvas as we went.”
The tenants have gained a lot from being
part of this because it was massive. It took
a long time and sometimes we felt we
were never going to get there.
“It’s a sense of accomplishment and community spirit. As a
tenant, it brought a lot of pride to each and every one of us,
even the people who didn’t participate because they couldn’t
for some reason, or thought they couldn’t. So, I think there
was a great sense of pride and it brought a lot of people
together. We got to know one another, and, I think, that was
really important, because now you can greet people around the
building that you met by being a part of it.”
While the project has positively impacted Leona’s relationships
with other tenants, it’s the people involved in the project that
have now moved on from Brisbane Common Ground that
Leona remembers with the most fondness.
“I love the little remembrances in it as well,” she says wistfully.
“There’s one lady who was a Dutch lady and she did a squirrel
on a branch, and I remember her every time I look at that
particular canvas. And there are other people who’ve gone,
who’d contributed and I can see them still there.”
Our building is the first supported
housing initiative in Queensland so it
attracts a lot of attention from a broad
range of people.