People, Land, Arts, Culture and Engagement: Taking Stock of the Place Initiative

This report serves as a point of entry into creative placemaking as defined and supported by the Tucson Pima Arts Council's PLACE Initiative. To assess how and to what degree the PLACE projects were helping to transform communities, TPAC was asked by the Kresge Foundation to undertake a comprehensive evaluation. This involved discussion with stakeholders about support mechanisms, professional development, investment, and impact of the PLACE Initiative in Tucson, Arizona, and the Southwest regionally and the gathering of qualitative and quantitative data to develop indicators and method for evaluating the social impact of the arts in TPAC's grantmaking. The report documents one year of observations and research by the PLACE research team, outside researchers and reviewers, local and regional working groups, TPAC staff, and TPAC constituency. It considers data from the first four years of PLACE Initiative funding, including learning exchanges, focus groups, individual interviews, grantmaking, and all reporting. It is also informed by evaluation and assessment that occurred in the development of the PLACE Initiative, in particular, Maribel Alvarez's Two-Way Mirror: Ethnography as a Way to Assess Civic Impact of Arts-Based Engagement in Tucson, Arizona (2009), and Mark Stern and Susan Seifert's Documenting Civic Engagement: A Plan for the Tucson Pima Arts Council (2009). Both of these publications were supported by Animating Democracy, a program of Americans for the Arts, that promotes arts and culture as potent contributors to community, civic, and social change. Both publications describe how TPAC approaches evaluation strategies associated with social impact of the arts in Tucson and Pima County. This report outlines the local context and historical antecedents of the PLACE Initiative in the region with an emphasis on the concept of "belonging" as a primary characteristic of PLACE projects and policy. It describes PLACE projects as well as the role of TPAC in creating and facilitating the Initiative. Based on the collective understanding of the research team, impacts of the PLACE Initiative are organized into three main realms -- institutions, artists, and communities. These realms are further addressed in case studies from select grantees, whose narratives offer rich, detailed perspectives about PLACE projects in context, with all their successes, rewards, and challenges for artists, communities, and institutions. Lastly, the report offers preliminary research findings on PLACE by TPAC in collaboration with Dr. James Roebuck, codirector of the University of Arizona's ERAD (Evaluation Research and Development) Program

Research students exhibition catalogue 2011

The catalogue demonstrates the scope and vibrancy of current inquiries and pays tribute to the creative capacity and investment of UCA research students. It brings together contributions from students who are at different stages in their research ad/venture. Their explorations are connected by the centrality of contemporary material practices as focal point for the reconsideration of societal values, cultural symbols and rituals and their meaning, and the trans/formation of individual, collective and national identities The media and formats employed range from cloth, jewellery and ceramics to analogue film, the human voice and the representation of dress and fashionin virtual environments. Thematic interests span from explorations at the interface of art and medical science to an investigation of the role of art in contested spaces, or the role of metonymy in ‘how the arts think’ And whilst the projects are motivated by personal curiosity and passion, their outcomes transcend the boundaries of individual practice and offer new insights, under-standing and applications for the benefit of wider society. Prof. Kerstin Me

Chicana/o Artivism: Judy Baca's Digital Work with Youth of Color

Part of the Volume on Learning Race and Ethnicity: Youth and Digital Media Astounding digital murals have emerged from the minds and souls of Chicana artist Judy Baca and the youth of color who have collaborated with her over the past ten years. Their workspace is SPARC, the Social and Public Art Resource Center, founded by Baca in 1996 and dedicated to the creation and support of community and public art in Southern California. But the digital art they produce is not only located in SPARC -- it can be found in virtual installations globally, as well as on the walls of Los Angeles barrio housing projects and in the hybrid spaces of the Internet. We call their activity "digital artivism," a word that is itself a convergence between "activism" and digital "artistic" production. The digital artivism we find expressed through SPARC, we argue, is symptomatic of a Chicana/o twenty-first century digital arts movement. This digital artivist movement also advances the expression of a mode of liberatory consciousness that Chicana feminist philosopher Gloria Anzaldua calls la conciencia de la mestiza, i.e. the radical consciousness of a mixed race peoples. Chela Sandoval and Guisela Latorre call attention to this mode of digital artivism enacted by Baca and young people who are vested in the convergences between creative expression, social activism, and self-empowerment

Glenn Ligon: Narratives

The exhibition on display at Schmucker Art Gallery, a suite of nine prints entitled Narratives by prominent contemporary artist Glenn Ligon, has been made possible by a generous gift to Gettysburg College by Dr. Kimberly Rae Connor ’79. Ligon’s works have been exhibited widely at major museums, and Gettysburg College is fortunate to have the opportunity to engage with work that examines issues of race, sexuality, history and representation. The artist is well known for his use of quotations and texts from a variety of literary writers and cultural critics such as James Baldwin, Frantz Fanon, bell hooks and Ralph Ellison, in his continuously successful examination of the critical place of slavery, oppression and freedom in African-American history and identity. In Narratives, Ligon’s emphasis on the text takes the place of a traditional image. He includes quotations from Hilton Als, Josephine Baker and Derek Walcott, but the story is his own. The format and font of these prints mimic the title pages of mid-nineteenth-century slave narratives. Not only does Ligon borrow the typographic style of these historic title pages, he also adopts a particular nineteenth-century vernacular. In the act of reading and seeing Ligon’s late twentiethcentury prints, the viewer must also consider the context and history of the original, personal, heart-wrenching, realistic and persuasive accounts of slavery. Slave narratives bolstered the abolitionists’ movement, often reached wide audiences and gained considerable popularity among northern readers, such as Frederick Douglass’s narrative, which sold 30,000 copies between 1845 and 1860. While Douglass was the author of his own book, many of the slaves were illiterate. Their horrific stories of abuse, familial separation, severity of the workload and dreadful living conditions were recorded by white abolitionists. Regardless of who transcribed the stories, the books often emphasized the veracity and authenticity of the author’s accounts. Correspondingly, Ligon tells of his own life and stresses the truth of this kind of honest and suggestive autobiography. [excerpt]https://cupola.gettysburg.edu/artcatalogs/1013/thumbnail.jp

Crafting the Community

Purpose – Crafting the Community is a volunteering project run by the Textiles Department at the University of Huddersfield to promote and deliver textile craft activities to the wider community. The purpose of this paper is to explore how volunteering can be a powerful tool for enriching peoples’lives while deepening students’ textile-related competencies through placing their learning in social and communal settings. Design/methodology/approach – Initially the paper will articulate how the project has been developed to bring innovation to the forefront of the curriculum, equipping students with tools for playing a meaningful and constructive role in society. Subsequently the paper will investigate how volunteering can be used to affect real-life changes in homelessness, archival threats and rural transport. Findings – The paper uses a case study approach to realise the vision of Crafting the Community that enables students to put into practice their learning while capturing the imagination of local communities. Social implications – As active players in society, staff, students and external partners create an engaged and interrelated learning experience as an evolving process, mimicking the repetitiveness and structure of the warp and weft of cloth itself. Originality/value – In response to emerging debates concerning the value, relevance and impact of cloth on societies today the project’s aim is to share the course’s own unique philosophy and insight into the importance of a practical and creative engagement with materials and processes in the wider community. This paper would be suitable for academics that who are interested in textile culture and emergent textile volunteering and socially engaged practices in the public realm

Investigating situated cultural practices through cross-sectoral digital collaborations: policies, processes, insights

The (Belfast) Good Friday Agreement represents a major milestone in Northern Ireland's recent political history, with complex conditions allowing for formation of a ‘cross-community’ system of government enabling power sharing between parties representing Protestant/loyalist and Catholic/nationalist constituencies. This article examines the apparent flourishing of community-focused digital practices over the subsequent ‘post-conflict’ decade, galvanised by Northern Irish and EU policy initiatives armed with consolidating the peace process. Numerous digital heritage and storytelling projects have been catalysed within programmes aiming to foster social processes, community cohesion and cross-community exchange. The article outlines two projects—‘digital memory boxes’ and ‘interactive galleon’—developed during 2007–2008 within practice-led PhD enquiry conducted in collaboration with the Nerve Centre, a third-sector media education organisation. The article goes on to critically examine the processes involved in practically realising, and creatively and theoretically reconciling, community-engaged digital production in a particular socio-political context of academic-community collaboration

Review of Ethical Questions in Name Authority Control

Ethical Questions in Name Authority Control is a new and thoughtful addition to the metadata and cataloging field of study and practice. Consisting of eighteen essays written by a number of libraries, archives, and information scholars, this edited volume investigates and responds to a number of ethical questions regarding name authority control.These include topics such as the privacy of the creator, use of geographic names for contested lands, critique of the use of gender in authority control systems, as well as considerations around multilingualism, to name a few. While the title mostly appeals to a particular field of work and study, the essays each communicate the various complexities of controlling, managing, and representing information

Preservation Practices of New Media Artists: Challenges, Strategies, and Attitudes in the Personal Management of Artworks

Purpose: The purpose of this paper is to investigate the preservation practices of new media artists, in particular those working outside of the scope of major collecting institutions, examining how these artists preserve new media artworks in their custody. Design/methodology/approach: The paper builds case studies of seven new media artists of differing practices and artistic approaches. For each case study, semi-structured interviews with the artists were conducted in conjunction with visits to the artists’ studios. Findings: The study finds that new media artists face a number of shared preservation challenges and employ a range of preservation strategies, and that these challenges and strategies differ markedly from that of art museums and cultural heritage institutions. Research limitations/implications: This study considers preservation practices for new media artists generally. Further research into specific communities of artistic practice could profitably build upon this overall framework. Practical implications: The findings of this research pose a number of implications for art museums and cultural heritage institutions, suggesting new ways these institutions might consider supporting the preservation of new media artworks before works enter into institutional custody. Originality/value: The literature on new media art preservation emphasizes the importance of working with artists early in the life cycle of digital artworks. This study advances this by investigating preservation from the perspective of new media artists, deepening the understanding of challenges and potential preservation strategies for these artworks prior to entering or outside of institutional custody