Writings, News
Jo Higgins
Routledge publication: Youth Programs in Art ...
Routledge publication: Youth Programs in Art Museums - An International Perspective
Writings
Jo Higgins
Art Guide Australia: Field Notes. A Grassroots ...
Art Guide Australia: Field Notes. A Grassroots Approach to Public Art
Events, Review, News
Jo Higgins
Berlin trip: Connected Audiences Conference and ...
Berlin trip: Connected Audiences Conference and some Art, Art, Art....
Writings, News
Jo Higgins
Art Guide Australia: Home Truths - feature story
Art Guide Australia: Home Truths - feature story
News, Writings
Jo Higgins
Artlink magazine's 'Hyphen' issue published
Artlink magazine's 'Hyphen' issue published

Western Plains Cultural Centre

,

Beyond Community Engagement: Transforming Dialogues in Art, Education and the Cultural Sphere

,

In 2016 I was approached by Dr Kim Snepvangers at UNSW Art & Design and invited to contribute a chapter to Beyond Community Engagement: Transforming Dialogues in Art, Education and the Cultural Sphere, part of the UNSW Curated Series: Transformative Pedagogies in the Visual Domain.

With a focus on peer-led learning and institutional partnerships, I approached my former South London Gallery colleague Sarah Coffils, now SLG Head of Education, to co-write the chapter with me, which we titled “Collaboration or Cooperation: Peer-led Learning and Institutional Partnerships through Two Case Studies.”

We took a dialogic approach to framing the chapter and called on past project collaborators and several key academics in the field of peer-led learning to contribute their reflections, which they did generously and openly.

That was 2016. And then edits and re-writes and publishing hold-ups meant nothing… until now. Finally: it’s here.

I’m really proud of what Sarah and I wrote and am so grateful to Kim for the opportunity to take on this challenge and for her critical, constructive, encouraging feedback along the way.

The book can be purchased here (if some light academic reading is your thing) but the Abstract to Sarah’s and my chapter is copied below.

ABSTRACT:

 This chapter explores from a practitioner-based perspective, two recent arts projects, that employed peer-led and project based models of learning to engage with a specific audience of young people aged 13-25. While distinct in their organisational structure, duration and delivery, both projects were conceived as part of unique institutional partnerships that engaged artists, creative industry practitioners and curatorial and educational peers as central to each projects’ realisation.

The two case studies include a UK project called the Louis Vuitton Young Arts Project (LVYAP) that was conceived by the South London Gallery and ran from September 2009 –  March 2013 in partnership with the Tate (across both Tate Modern and Tate Britain), Whitechapel Gallery, the Hayward Gallery and the Royal Academy of Arts. Both authors worked on this project. The second case study is from Australia and is the Kaldor Public Art Projects Pilot Regional Engagement Project, which in contrast with the LVYAP, ran for a shorter period of just 12 weeks, from May to July 2015. The project was part of the educational program for Project 30 – Marina Abramović: In Residence . It was delivered in partnership with the Western Plains Cultural Centre in Dubbo in central western NSW with support from regional arts board Orana Arts. One of the authors, Jo Higgins, worked on this project.

Using a dialogic conversational format to reflect on what worked and what didn’t in these two projects, the authors’  explore the institutional nature of collaboration, as something distinct from cooperation, and considers the role of agency and outcomes for both facilitators and participants in understanding what may constitute success. The relative successes of each project are considered in light of Australian and International evaluative reports on peer-led learning and shifting cultural agendas as well as key academic texts on collaboration and models of museum-based learning.

Ultimately, we attempt to draw some conclusions about best practice models of working in regards to institutional partnership projects and innovative engagement programs that target a specific audience of young people; an audience that necessarily needs to be nurtured if cultural institutions are to have vital and engaged future audiences.

OTHER POSTS

,

What It Means to be Me, Western Plains Cultural Centre, Dubbo, 26 July 2015

,

Kaldor Public Art Project’s pilot regional engagement program wrapped up last weekend. I’m elated, exhausted, proud and a bit overwhelmed by its success and all the very positive feedback we’ve received from the participants and various stakeholders.

Below are some images from the final exhibition, held last weekend at the Dubbo Regional Gallery, Western Plains Cultural Centre. The exhibition was opened by the Hon. Troy Grant, NSW Minister for the Arts and John Kaldor, director of Kaldor Public Art Projects.

Photos: Alex Wisser / Kaldor Public Art Projects


WHAT IT MEANS TO BE ME.

There’s an immediacy and honesty to performance art that lends itself, perhaps more than any other form of art, to an exploration of what it means to exist in any one particular moment in time.

Over the last 10 weeks, seven rather extraordinary local teenagers have pioneered their own understanding of performance art as part of Kaldor Public Art Project’s Pilot Regional Engagement Program. This pilot, which has formed a central part of the wider education and public program for the recent Project 30 – Marina Abramovic: In Residence at Sydney’s Pier 2/3, culminates today in this very special one-day exhibition, What It Means to be Me.

Throughout the program, the participants have explored and tested ideas of presence, movement, the role of the body in art and how we interrogate and construct ideas about ourselves and about the world around us.

The seven works presented here express their very personal experiences and enquiries about love, misunderstanding, imagination, disconnection, social expectation, empathy and something of the magic of Marina.

In presenting these beautifully deft explorations of what it means to be them at this moment in time, they hope also to ask, what it does it mean to be you?

Artists:

Justen Beehag

Caitlyn Coman-Sargent

Grace Farmilo

Shanae Gosper

Kate Hagan

Clare Noonan

Sam Read

  

The Kaldor Public Art Project Pilot Regional Engagement Program has been supported by Arts NSW and the Federal Ministry for the Arts in partnership with Western Plains Cultural Centre and Orana Arts.

OTHER POSTS

More Marina Magic

How many teenagers in their lifetime get a masterclass in performance art from the internationally acclaimed Marina Abramovic?

Well, I know of eight. And they’re all from Dubbo.

On Saturday 3 July, the Kaldor Public Art regional engagement project reached its halfway point. The pilot, in the context of our recent project with Abramovic, has proven to be a unique and hugely rewarding opportunity to engage with ideas around performance art using the very immediate experiences of our teenage participants.

Through a series of workshops, discussions, exercises and activities (led by myself, theatre director Imara Savage and artist Lottie Consalvo) we’ve been exploring the role of the body as a gesture or action in art making. We’ve also been looking at ideas of presence and energy and the role of the audience, and asking our intrepid participants to mine their own ideas and experiences, challenging them to consider how they might explore some of these emotions and responses as a work of art.

Earlier this month the participants joined us in Sydney for two days at Pier 2/3. It was a chance to experience Project 30 – Marina Abramovic: In Residence and to be part of our dedicated public program event with Western Plains Cultural Centre aptly titled, The Western Plains Respond. It was also an opportunity for them to see their learning and works-in-progress in the context of the 12 emerging Australian artists living in residence at the Pier (of which Lottie was one) and to meet the rest of the Kaldor Public Art Projects team.

The Marina masterclass wasn’t on the agenda. It was an impromptu event, proposed by Marina herself no less, after she met everyone on Friday and was told about what they’ve been up to for the last couple of months. Marina challenged them to explain their ideas, asked critical questions, gave thoughtful feedback and told them in no uncertain terms to commit to their ideas, especially the ones that frightened them, because they usually proved to be the most important ones.

All of which will be on display during the special one-day exhibition at Dubbo Regional Gallery at the Western Plains Cultural Centre on Sunday 26 July.

This huge and exciting culmination to the project is a chance for the participants to present their work as serious young artists, and to learn what’s involved in curating an exhibition. Which is why Kent Buchanan, Curator of the WPCC and Andrew Glassop, WPCC General Manager, along with the rest of the Dubbo team are taking the unprecedented step of giving them their own exhibition space in the main gallery.

Their final performance pieces, which will be curated by Kent, deftly explores their teenage experiences of disconnection, feminism, mental health, love, worry and expectation.

Presented from 11am as part of a special day-long, free public program that includes the official launch of the Public Art of Dubbo website by Deputy Premier and NSW Arts Minister, the Hon. Troy Grant, and an afternoon panel discussion on the changing nature of public art. Chaired by Kent Buchanan, panellists include Kaldor Public Art Projects Director John Kaldor, artist Alex Wisser and Regional Arts Development Officer for Orana Arts, Alecia Leggett. And probably a participant or seven.

The day gets underway at 10.30am and concludes at 3pm with refreshments and informal reflections. No bookings are required and the events and exhibition are free to attend.

It’s an important moment for us in our pilot project but beyond that, it’s a very special opportunity to experience the work of some exciting young artists who have absolutely earned an audience for their work. Just ask Marina.

 

This article was written for Museums and Galleries New South Wales in my capacity as Regional Engagement Coordinator for Kaldor Public Art Projects and originally published on 11 July 2015. http://mgnsw.org.au/articles/more-marina-magic/

OTHER POSTS

,

Lessons learnt: Kaldor regional progress report

,

It’s been six weeks since our Pilot Regional Engagement Project started and with two weekends of workshops behind us, it’s an interesting time to reflect on what we’ve learnt so far.

The invisible hours are the most important

Working with teenagers and in a community you’re not usually part of, there’s always a risk that no one will show up.

All nine of our participants did show up (and on time…) and despite not all knowing each other, they were quick acknowledged the uniqueness of the opportunity, which made for an immediately supportive group environment.

This couldn’t have happened without the many invisible hours we spent in regular communication with them, their parents, their teachers and the team at the Cultural Centre in the lead up to the first weekend. Maintaining that communication has so far ensured the retention and investment of everyone involved.

Image: Paige Williams / Orana Art. Courtesy Kaldor Public Art Projects.

Don’t assume anything

We had asked the participants to submit an introductory form outlining what they hoped to get from the experience so we knew before we arrived that most had little or no knowledge of performance art, contemporary art or Marina Abramovic.

So, the first day was dedicated to exploring what performance art is; what forms it can take and how it’s anything but theatre. We showed a selection of works from artists including Abramovic, Yoko Ono and Tehching Hseih and with each work asked the same three questions:

  • What do we think are the artist’s intentions?

  • What role does the audience play?

  • How successful is it?

Day two focused on autobiography, perception and identity construction. Activities included creating abstract self-portraits that were then analysed by the group and an exercise in response to Glenn Ligon’s series Runaways exploring how others see us and make judgements accordingly.

We had hoped that as a group they might be interested in creating works that explored the experience of being a teenager in regional Australia but discussing this particular experience only led to moaning about Dubbo. Eventually a more nuanced perception was negotiated but it reminded us not to assume anything. Especially when it comes to teenagers.

Amazing things can be achieved with trust

One of the risks in working with performance art is that its process of creation involves a lot of introspection, critical thinking and honesty. Which in turn, can generate the need for significant pastoral care.

Prior to the workshops we had been made aware of some existing mental health, sexuality and self-esteem issues, and while this didn’t alter the workshop activities we ran, it remains an on-going point of consideration in managing discussions and presenting ideas.

Several participants have since chosen to explore some of these issues directly through their work, which is a testimony to the level of trust we have built. It’s going to make for important, memorable performances – for the participants and the viewers.

Image: Paige Williams / Orana Arts. Courtesy: Kaldor Public Art Projects.

Work with brilliant people

Theatre Director Imara Savage spends a lot of time with the group taking them through basic ensemble training: how to be present, how to be aware of your body and its movement, how to listen to the energy of the group, how to avoid fidgeting and giggling and breaking focus.

Artist Lottie Consalvo, one of the 12 residency artists living on-site at Pier 2/3, joined us for the second weekend, and devised workshops that focused on the process of creation.

Amongst other activities, the group had to stare at themselves in a mirror for 20 minutes: they had to respond emotionally not descriptively, to a series of objects handed to them while blindfolded, and they had to sit and squeeze an orange for one minute while the rest of the group looked on.

Both Imara and Lottie listened to the group, respected them as individuals and earned their trust. This allowed us to push them out of their comfort zone, ask critical questions and importantly, give critical feedback.

At this stage in the project, many participants already have a sense of the work they want to create. That most of the group got to this point relatively easily reflects the importance of working with people whose personal skills as well as professional expertise best fit the audience.

‘Be’ there, even when you’re not

One of the issues with a regional pilot program is that there often weeks between workshops when nothing happens. To partially fill the void, we created a Tumblr page to document the project and to distribute material between visits.

Initially we hoped that the participants would also submit their own research, work, and ideas but so far that hasn’t been the case. See Point 2.

Regardless, it remains a useful way to share resources and images with the group, and to be present and available to the participants remotely.

You can see the blog here: www.kaldorpublicartprojects.tumblr.com

Connect – don’t exist in isolation

In every conversation about this pilot we’ve made a point to situate it within the wider context of Kaldor’s education and public programs but also specifically this current project with Marina Abramovic.

And so on Friday 3 July at 2,30pm, as part of the Upstairs Public Program at Pier 2/3, the participants will join Kent Buchanan, Curator from Western Plains Cultural Centre, in a discussion on contemporary performance art within a regional context.

This Sydney visit is a key moment in the project and an important public facing moment before we return to Dubbo for our next two weekends and the final presentation on 26 July.

Photo: Paige Williams / Orana Arts. Courtesy: Kaldor Public Art Projects.

This article was written for Museums and Galleries New South Wales in my capacity as Regional Engagement Coordinator for Kaldor Public Art Projects and originally published on 23 June 2015. http://mgnsw.org.au/sector/news/lessons-learnt-kaldor-progress-report/

OTHER POSTS

Kaldor pilots regional engagement project

Image courtesy REcreativeUK.com. Photo: Richard Eaton

In 1977 Richard Long walked 100 miles across the Australian bush in what was then the 7th Kaldor Public Art Project (KPAP). Next weekend we head west again – but this time thankfully not on foot – for the launch of our 2015 Pilot Regional Engagement Program in partnership with the Western Plains Cultural Centre, Dubbo.

Nearly 12 months in the making, this pilot is an important strand of the Public Engagement Program for our 30th project – Marina Abramovic: In Residence, which opens next month at Pier 2/3 in Sydney’s Walsh Bay.

The regionally focused project is a natural next step in KPAP’s investment in the development of innovative, world-class education and outreach programs, and in finding and supporting new audiences for contemporary art.

Envisioned as a productive and ongoing dialogue with key stakeholders in the region – including the teams at Dubbo Regional Gallery and Orana Arts, Dubbo City Council, local art teachers, artists and young people – it’s also an opportunity for us to explore the development of a sustainable model of regional engagement, exchange and future partnerships.

We approached Western Plains Cultural Centre (WPCC) and began discussions with them about the pilot last July. We wanted to work with an organisation whose programming and vision reflected our own; who had established connections in the community and a strong school network; and who had the resources and facilities to support the project on a logistical level. Thankfully they didn’t take much convincing.

In February, along with Sue Saxon, Kaldor’s Education and Public Programs Manager, we made our first visit to Dubbo. The two days of meetings, conversations and planning with the teams at WPCC and Orana Arts, the Mayor and the Chairperson of the Council’s Youth Committee were a fantastic introduction to the region.

Crucially, we also met with a large group of art and drama teachers, to whom we had reached out to with help from WPCC in the weeks leading up to our visit. This information session and the resulting feedback served to reinforce the value of piloting a project dedicated specifically to young people.

It also clearly demonstrated the enormous energy and commitment of this special group of teachers in supporting their students to access opportunities such as this one. The buy-in and support of teachers, and regular communication with them since has been critical to this stage of the project, and especially for the recruitment of participants.

The pilot project focuses on young people aged 16-20; a demographic often under-represented in public programming. The peer-led model of learning we are using has proven to be successful overseas in building young people’s confidence, creativity and critical thinking skills, and is designed to facilitate the development and realisation of the participants’ own ideas in collaboration with each other.

Over four weekends from May to late July the group will work with regional and Sydney-based artists and curators, including director Imara Savage and artist Lottie Consalvo, to explore their own ideas around performance, audience, public space and contemporary art.

On Friday July 3, the participants will experience Marina Abramovic: In Residence in Sydney and, we hope, contribute to the dynamic public program at Pier 2/3 with Dubbo Regional Gallery Curator Kent Buchanan. We’re looking forward to their ideas.

The project culminates on Sunday 26 July with a day of talks and performances led by the group at Dubbo Regional Gallery.

While we hope the participants will create a compelling series of works that reflect both their experiences as teenagers living in regional Australia and their own understandings of performance art, what we really looking forward to is seeing what they make of this pilot experience, in every sense of the word.

This article was written for Museums and Galleries New South Wales in my capacity as Regional Engagement Coordinator for Kaldor Public Art Projects and originally published on 2 May 2015. http://mgnsw.org.au/sector/news/kaldor-pilots-regional-education-project/

OTHER POSTS

I live and work on the unceded lands of the Gadigal and Bidjigal people and acknowledge their unbroken connection to this Country. I pay my deepest respects to their Elders, past and present, because this always was, and always will be, Aboriginal land.