Alison Jeffers co-edited Culture Democracy and the Right to Make Art with artist Gerri Moriarty. The book contains twelve chapters that look at the community arts movement from the 1980s to today. Bloomsbury Methuen published it in 2017. In 2018 the book was awarded Gold Open Access status, enabled through institutional funds from the University of Manchester.
Read MoreBeauty in Transition established a pop-up mobile hair salon providing beauty services including a hair wash, cut, colour and/or style service to willing participants living in homeless shelters.
Read MoreA short film about Social Works?: Live, a celebration and exploration of socially engaged practice which took place at Manchester School of Art on 26 April 2019.
Read MoreAnne Douglas’ review offers a “poetics” of participation in contemporary arts”, locating the turn to participation in contemporary arts within a wider history of 20th and 21st century arts and politics.
Read MoreThis paper presents an outline of ten years of research projects situated between art and anthropology, which Elpida Rikou initiated, coordinated and participated in as both an artist and an anthropologist.
Read MoreTeaching for people who prefer not to teach is a manual that fits in your pocket. It’s a messy collection of ideas: contributions our friends and colleagues sent us, our own learning experiences and rumours we heard.
Read MoreVanguardia delves into the changing praxis of socially engaged art and theory in the age of the Capitalocene.
Read MoreAn account of the theory, history and practice of community art in Europe that combines decades of first-hand experience with new research, and many project descriptions.
Read MoreThe last twenty-five years have seen a radical shift in the work of politically committed artists. No longer content to merely represent social reality, a new generation of artists has sought to change it, blending art with activism, social regeneration projects, and even violent political action.
Read MoreThis paper briefly explores the problematic notion of the “artist as a social worker” and aims to develop an (ethical) counterpoint to this position via Mouffe’s concept of agonism.
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