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Community art : an anthropological perspective / Kate Crehan.

By: Material type: TextTextPublication details: Oxford ; New York : Berg, 2011.Edition: English edDescription: xviii, 210 pages : illustrations ; 24 cmISBN:
  • 9781847888334
  • 184788833X
Subject(s): DDC classification:
  • 711.4 CRE
Contents:
I The Rejection -- 1 Art Inside and Outside the Gallery 3 -- The Art World 5 -- Art with a Capital A 11 -- The Art World and Common Sense 18 -- Charges and Briefs 22 -- II The Shaping -- 2 Moving beyond the Gallery 29 -- Beginnings 29 -- An Art World Brief 35 -- Into the \'Community; 38 -- A Warmly Persuasive Word 40 -- Back to the Art World 41 -- \'What\'s It For, Mister?\' 44 -- Freedom and Structure 47 -- Fun Events v. Artism Lifeism 51 -- 3 From Performance to the Environment 57 -- \'I\'m Afraid This Whole Horrible Box Takes Priority\' 58 -- From Visual Systems to Free Form Arts Trust 59 -- Performance 61 -- Dead Fish and Totem Poles 72 -- The Environmental Turn 76 -- 4 Community Arts and the Democratization of Expertise 79 -- The Rise and Fall of community Arts and Community Architecture 80 -- Early Environmental Work in Hackney 87 -- Providing Access to Expertise 91 -- 5 Responding to Local Needs: Goldsmiths 95 -- Football and Mosiacs 98 -- Of Distraction and Expression 103 -- 6 Making Art Collaboratively: Provost 111 -- Paths and Plantings 111 -- The Mural 115 -- \'Everybody Was Involved in the Mural\' 124 -- The View from the Arts Council 125 -- 7 Theoretical and Political Locations 129 -- Artists and Ethnography 129 -- Locating the Free Form Artists 131 -- The Coming of the Audit Culture 137 -- III Into The Twenty-First Century -- 8 Free Form in 2004 141 -- A Professional Organization 141 -- The Norwich Commission 148 -- The Catton Grove Brief 152 -- 9 A Carnival and a Standing Stone 157 -- The Catton Clear Day Carnival 158 -- \'It\'s Personalized the Rubbish Collection a Bit More\' 162 -- The Fiddlewood Project 165 -- Selecting an Artist 165 -- The Standing Stone 171 -- \'It\'s Much Better Than That Angel of the North\' 177 -- The End of the Journey 180.
Holdings
Item type Current library Call number Copy number Status Date due Barcode
Standard Loan LSAD Library Main Collection 711.4 CRE (Browse shelf(Opens below)) 1 Available 39002100623728

Enhanced descriptions from Syndetics:

Exploring key issues for the anthropology of art and art theory, this fascinating text provides the first in-depth study of community art from an anthropological perspective.The book focuses on the thirty-five year history of the Free Form Arts Trust, an arts group that played a major part in the 1970s struggle to carve out a space for community arts in Britain. Turning their back on the world of gallery art, the fine artist founders of Free Form were determined to use their visual expertise to connect, through collaborative art projects, with the working-class people excluded by the established art world. In seeking to give the residents of poor communities a greater role in shaping their built environment, the artists' aesthetic practice would be transformed. Community Art examines this experiment in reimagining the place of the artist in the making of art, with its rejection of the individualised practice of the gallery artist. An experiment that challenges common understandings of the categories of 'art', 'expertise', and 'community', it gives the Free Form story a relevance far wider than just that of late twentieth and early twenty-first-century Britain.

Includes bibliographical references and index.

I The Rejection -- 1 Art Inside and Outside the Gallery 3 -- The Art World 5 -- Art with a Capital A 11 -- The Art World and Common Sense 18 -- Charges and Briefs 22 -- II The Shaping -- 2 Moving beyond the Gallery 29 -- Beginnings 29 -- An Art World Brief 35 -- Into the \'Community; 38 -- A Warmly Persuasive Word 40 -- Back to the Art World 41 -- \'What\'s It For, Mister?\' 44 -- Freedom and Structure 47 -- Fun Events v. Artism Lifeism 51 -- 3 From Performance to the Environment 57 -- \'I\'m Afraid This Whole Horrible Box Takes Priority\' 58 -- From Visual Systems to Free Form Arts Trust 59 -- Performance 61 -- Dead Fish and Totem Poles 72 -- The Environmental Turn 76 -- 4 Community Arts and the Democratization of Expertise 79 -- The Rise and Fall of community Arts and Community Architecture 80 -- Early Environmental Work in Hackney 87 -- Providing Access to Expertise 91 -- 5 Responding to Local Needs: Goldsmiths 95 -- Football and Mosiacs 98 -- Of Distraction and Expression 103 -- 6 Making Art Collaboratively: Provost 111 -- Paths and Plantings 111 -- The Mural 115 -- \'Everybody Was Involved in the Mural\' 124 -- The View from the Arts Council 125 -- 7 Theoretical and Political Locations 129 -- Artists and Ethnography 129 -- Locating the Free Form Artists 131 -- The Coming of the Audit Culture 137 -- III Into The Twenty-First Century -- 8 Free Form in 2004 141 -- A Professional Organization 141 -- The Norwich Commission 148 -- The Catton Grove Brief 152 -- 9 A Carnival and a Standing Stone 157 -- The Catton Clear Day Carnival 158 -- \'It\'s Personalized the Rubbish Collection a Bit More\' 162 -- The Fiddlewood Project 165 -- Selecting an Artist 165 -- The Standing Stone 171 -- \'It\'s Much Better Than That Angel of the North\' 177 -- The End of the Journey 180.

Table of contents provided by Syndetics

  • List of Figures (p. vii)
  • Acknowledgements (p. xi)
  • Preface (p. xiii)
  • I The Rejection
  • 1 Art Inside and Outside the Gallery (p. 3)
  • The Art World (p. 5)
  • Art with a Capital A (p. 11)
  • The Art World and Common Sense (p. 18)
  • Charges and Briefs (p. 22)
  • II The Shaping
  • 2 Moving beyond the Gallery (p. 29)
  • Beginnings (p. 29)
  • An Art World Brief (p. 35)
  • Into the 'Community; (p. 38)
  • A Warmly Persuasive Word (p. 40)
  • Back to the Art World (p. 41)
  • 'What's It For, Mister?' (p. 44)
  • Freedom and Structure (p. 47)
  • Fun Events v. Artism Lifeism (p. 51)
  • 3 From Performance to the Environment (p. 57)
  • 'I'm Afraid This Whole Horrible Box Takes Priority' (p. 58)
  • From Visual Systems to Free Form Arts Trust (p. 59)
  • Performance (p. 61)
  • Dead Fish and Totem Poles (p. 72)
  • The Environmental Turn (p. 76)
  • 4 Community Arts and the Democratization of Expertise (p. 79)
  • The Rise and Fall of community Arts and Community Architecture (p. 80)
  • Early Environmental Work in Hackney (p. 87)
  • Providing Access to Expertise (p. 91)
  • 5 Responding to Local Needs: Goldsmiths (p. 95)
  • Football and Mosiacs (p. 98)
  • Of Distraction and Expression (p. 103)
  • 6 Making Art Collaboratively: Provost (p. 111)
  • Paths and Plantings (p. 111)
  • The Mural (p. 115)
  • 'Everybody Was Involved in the Mural' (p. 124)
  • The View from the Arts Council (p. 125)
  • 7 Theoretical and Political Locations (p. 129)
  • Artists and Ethnography (p. 129)
  • Locating the Free Form Artists (p. 131)
  • The Coming of the Audit Culture (p. 137)
  • III Into The Twenty-First Century
  • 8 Free Form in 2004 (p. 141)
  • A Professional Organization (p. 141)
  • The Norwich Commission (p. 148)
  • The Catton Grove Brief (p. 152)
  • 9 A Carnival and a Standing Stone (p. 157)
  • The Catton Clear Day Carnival (p. 158)
  • 'It's Personalized the Rubbish Collection a Bit More' (p. 162)
  • The Fiddlewood Project (p. 165)
  • Selecting an Artist (p. 165)
  • The Standing Stone (p. 171)
  • 'It's Much Better Than That Angel of the North' (p. 177)
  • The End of the Journey (p. 180)
  • Conclusion: Of Art and Community (p. 181)
  • Artists in the 'Community' (p. 181)
  • New Genre Public Art (p. 186)
  • The Free Artist and the 'Nonexclusive Audience' (p. 189)
  • Community Art and the 'Community' (p. 193)
  • References (p. 197)
  • Index (p. 203)

Author notes provided by Syndetics

Kate Crehan is Professor of Anthropology, College of Staten Island and Graduate Center, City University of New York.

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