1. Commissions and residencies

2. Public art - different types of proposals: Artist initiated Response to a defined brief Response to a broad brief

3. Artist initiated: Artist makes a proposal to a venue, collaborator or funder “I prefer opportunities which are non-prescriptive. I like to respond to an environment in an intuitive way, having time to research before I definewhat the project actually is. Whether it is shed culture, rural location or heritage site” Lorrice Douglas, ‘Future Forecast’ AN Publications

4. Response to a defined brief: Project initiated by an organisation or individual who defines how they want an artist to contribute. The artist makes a proposal in response.

5. Response to a broad brief: Project initiated by an organisation or individual who defines broad parameters for an artist’s contribution. A combination between artist initiated and a defined brief

6. Commissioning - Design idea stage Who are you dealing with? Where is the commission going to be located? What are the social circumstances related to it? Has the commission got a theme? Proposed budget and timetable?

7. Aims and Objectives: Who the project’s audience is How will it benefit the local community? What will be the outcome of the project?- exhibition, site-specific piece, temporary artwork, environmental, educational, political e.t.c

8. Practicalities: Materials and equipment needed Transport requirements Which other parties are involved? Time-scale for ordering/locating resources Who is responsible for obtaining insurance cover?

9. Other considerations: Who pays for it? Private / Public Is your fee inclusive or exclusive of VAT Most permanently-sited public artworks require planning permission Who is responsible for for maintenance once the artwork has been completed? Are you developing a project with a specific audience in mind?

10. Residencies

11. Residencies and placements Can help to improve the public’s understanding of work. For artists they provide an opportunity to collaborate directly with their audience.

12. Transferred -Studio An artist transfers his /her studio to a new site. The artist’s works proceeds more or less as before. Considerable contact with the public will usually be expected ie teaching, lectures and workshops.

13. Commission Producing an artwork for a specific site Depending on the commission may or may not involve public participation.

14. People-centered residencies Where artists assist in the creation of a work which is the community’s rather than the artists. Such a residency might be located within a housing estate,community centre, school,prison e.t.c

15. Potential locations: Hospitals, health centres Galleries, museums, libraries Prisons Schools, colleges, universities Private businesses, shopping centres Housing estates, community projects Outdoor situations-sculpture trails e.t.c

16. How does an artwork communicate in particular contexts? “We are interested in working with patients, staff and visitors, exploring collaborative relationships in the development of new artwork whilst responding to the physical and the social situations within the psychiatric ang general hospital environments” Functionsuite, Future Forecast, AN Publications

17. “Most cultural organisations are now seeking a real connection with the people they’re living amongst. Increasingly local councils and other bodies are seeing the potential for partnership with artists. A social space can be almost anything outside a gallery. The parameters continue to dissolve……..” Richard Layzell, ‘Social Space’ AN Publications

18. Method / media Murals Sculpture / installation Time-based: performance /intervention,moving image, web-based Sound-based Publications, newsletters, books e.t.c Mail art Permanent / temporary / site-specific

19. Shifting perspectives Do you sacrifice your artistic integrity by moving away from the confines of the studio and gallery and in to the public realm? Look critically at your practice. Would this residency make a mutually beneficial match?

20. ‘Government agencies and arts funders are accused of using arts to ameliorate social problems when conventional politics have failed raising questions about the impact this has on the quality in the visual arts and the autonomy of artists…’ Becky Shaw, ‘Social Space’, AN publications

21. How / who validates public art projects? Feedback from participants-public talks, lectures etc Reviews from the art community Research projects Being able to stand up to scrutiny by a non-art going public

22. “Whether art contributes to social change is widely debated. Rather than delivering social objectives, many artists ‘question’, ‘explore’ or directly ‘challenge’ them. Can this heighten or change our perceptions and expectations of funders and government agencies ?” Future Forecast ‘Matters Arising’, AN Publications

23. St James C of E Primary School, Handsworth, Birmingham Artist in residence mural project William Rounce, June 1997

24. I was commissioned by Norlink ( Educational Business Partnership ) to produce an educational mural for a primary school 120 pupils from 4 classes in years 4- 6 participated in designing & painting the mural The mural took 4 weeks to complete

25. Project Brief The brief was to produce a 9ft x 9ft mural to be situated within an assembly hall of the school The main image was based on a map of the approximate pupil catchment area, in the Handsworth district of Birmingham. I had a budget for £660 to cover labour and material’s costs.

26. The completed mural without its panels The school was situated at the centre of the map Hanging alongside the the lower and left side of the mural there were a series of double-sided interchangeable 20’’ x 20’’ MDF panels.

27. The images upon the 24 panels covered 4 specific topics………….

28. Six images of map symbols: church, road park building police station post office

29. Grid references, 12 panels of the numbers1-6 and the letters A-F

30. Six panels representing the religious / multi – cultural diversity of the school ’ s pupils: Christianity Islam Buddhism Sikhism Hinduism Judaism

31. Designed and painted by the pupils, 24 images of ‘ landmarks ’ within the local area.

35. Health & Safety considerations All MDF was primed The edges of the panels were rounded off All paint used was water-based To prevent injury, screws that didn’t project out were used instead of hooks to hang the lower panels

36. References artangel.org.uk a-n.co.uk artquest.org.uk resartis.org