Benefits of a Community-Based Exhibition Project

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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

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  • Beginning of Sheryl’s presentation
  • Beginning of Melissa’s presentation
  • Tony--we can remove your name from this slide if you have a title for your part (Melissa’s is “Benefits for a Small Museum”)
  • Carlyn, do you have a title for your part? (Melissa’s is “Benefits for a Small Museum”)
  • 1992
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  • Benefits of a Community-Based Exhibition Project

    1. 1. Benefits of a Community-Based Exhibition Project Antonio Castillo, Carlyn Barrus, Melissa Hempel, Sheryl Gillilan, Rebekah Monahan (moderator)
    2. 2. Introductions Sheryl Gillilan Melissa Hempel Antonio Castillo Carlyn Barrus Director/Curator, Woodbury Art Museum Gang Prevention Specialist, Provo School District
    3. 3. ART ACCESS
    4. 4. Since 1984 Our mission is to provide equal opportunities to inclusive arts programming to Utahns with disabilities and underserved communities with limited access to the arts. Our vision is to demonstrate that the arts are a universal vehicle to draw out similarities, celebrate our differences, and ultimately connect us to each other.
    5. 5. Art is one of the oldest forms of storytelling.
    6. 6. Art appears in every culture on Earth.
    7. 7. Art is the only language that every person in the world can understand.
    8. 8. Art helps us to understand how others see the world; clarify how we see the world; share our experiences; and connect to one another. Fresco from the Villa of the Mysteries. Pompeii, 80 BC.
    9. 9. Stories connect us because they allow us to break down the walls between “Them” and “Us” Who I Am, mixed media, Sherrie Hawker Atem, oil on canvas, Eric Empey
    10. 10. ART ACCESS Core Philosophy We believe in the power of art to connect people and to build a stronger, more inclusive community.
    11. 11. ART ACCESS Programs & Services We offer 12 mission-driven programs focusing largely on the Wasatch Front. Sharing stories through art is so important that ART ACCESS believes everyone should have access to arts opportunities.
    12. 12. Visit us at ART ACCESS We’re looking forward to hearing your story, because. . .
    13. 13. we believe that ART IS FOR everyone! www.accessart.org
    14. 14. Benefits for a Small Museum
    15. 15. Climate AUTONOMY ●Somewhat unincorporated department within the school ●Separate mission statement TIMING ●Building a regular exhibition schedule ●Community partners and representatives from the school
    16. 16. Project Scope Working with underrepresented populations, the Hidden Voices Program offers a safe outlet for expression through art projects, developing skills and building community in Utah County. 2011 Hidden Voices: Graffiti Provo School District Gang Prevention 2012 Hidden Voices: Women in Printmaking Utah County Center for Women and Children in Crisis 2014 Hidden Voices: Fiber Arts “Not Bound by Tradition” community group
    17. 17. Awareness & Stakeholders PARTICIPANTS MUSEUM ●Reclaiming space and attention ●More community “buy-in” ●Learning art skills ●Increased attendance and recognition ●Reputation
    18. 18. Content & Display PARTICIPANTS ●A chance to tell their stories ●An opportunity to teach others MUSEUM ●Ability to expand beyond the artist statement ●Content from the project: process and backgrounds
    19. 19. Expanding our Definition of Contemporary Visual Art
    20. 20. Can You Read Graffiti?
    21. 21. “Final Product” Set out to tell the whole story as the final product for display: ● Completed artworks became secondary ● Showing the Process ● Representing Participants ● Contemporary Art = art being created right now, on-site
    22. 22. Evaluation A small museum doesn’t have much time to complete evaluations, here the audience helps you.
    23. 23. Never have I had more comments than...
    24. 24. Challenges ● If no strong community partner, the concept suffers ● If no continued support, participants lose connection with museum ● Long-term project completed over 6 months or more ● Keeping new visitors as regular visitors
    25. 25. Provo School District Gang Prevention
    26. 26. Recruit Juvenile Artists ● Convince artist to participate in Hidden Voices Program ● Commit artist for HV project ● Obtain parent permission
    27. 27. Mentor Artist ● Assist artist with obtaining a high school diploma or equivalent ● Set short and long term goals ● View urban art in a more positive way
    28. 28. Collaborate with Museum ● Provide a space where artists could express themselves ● A space to display their art ● Building bridges with the Provo and Orem communities
    29. 29. Albert Anzar ● 1st artist recruited ● Slate Canyon Youth Detention Center ● Facing 30 counts of vandalism ● Dropped out of school prior to his arrest
    30. 30. A Second Chance: Albert ● Assisted with recruiting artists ● Excelled as a leader among the group ● Stopped tagging illegally ● Received commissions to paint
    31. 31. Self Portrait Albert Anzar
    32. 32. The Two Sides of Graffiti: Nick Solis
    33. 33. Family Involvement
    34. 34. The Artists
    35. 35. Scholarship & Award Recipients
    36. 36. Community Art
    37. 37. Community Art “...basically involves artists and their fellow citizens coming together to make art that in some way reflects their common concerns.” William Cleveland
    38. 38. Participation encourages - blurs line between artist and participant Process over the final values product or object element of Activism addresses needs/concerns of community works to bring about change or action
    39. 39. Relational Aesthetics: Nicolas Bourriaud, 1998 “A set of artistic practices which take as their theoretical and practical point of departure the whole of human relations and their social context, rather than an independent and private space.”
    40. 40. Final Questions?

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