Written by Becky Whitmore and Kerry Russell
PSC and In Bristol Studio have created a toolkit to provide artists with an accessible framework to utilise when engaging with participants around the concept of public art and sculpture as an art form.
The three participatory sculptural artworks commissioned for the 2018 Festival of Making are used to give examples of three different types of participation. The hope is that this guide can be used as a learning tool for future projects and others wanting to deliver successful participatory community projects.
This publication is funded by: Arts Council England.
Written by Marsha Bradfield & Lucy Tomlins
Fast forward twenty years: If asked to reflect back on the most pressing developments in the practice of sculpture in London 2015, what would you say? This publication responds to this question as a kind of time capsule of this historical moment, through the lens of three themes: ‘Adventures in Material and Space’; ‘Public Sculpture, Public Art’ and ‘Ambition and Afterlife’.
The present described here springs from the perspective of PSC but also draws on the insights of our peers, colleagues and associates as our reflections move between the micro and the macro, from a fleeting episode in our recent residency, to scanning the wider cultural landscape, as we attempt to make sense of our lived experience as practitioners in London 2015.
Those featured include: Anthony Caro, Barry Flanagan, Byzantia Harlow, Emily Motto, Jamie Fitzpatrick, Revital Cohen & Tuur van Balen, Matthew de Kersaint Girauedeau, David Rickard, muf architecture / art, Alex Chinneck, Andrew Ranville, Marjetica Potrc & Ooze, Frances Richardson, Naum Gabo, Christine Kozlov, Anne Hardy, Pablo de Laborde Lascaris, Heatherwick Studio.
This publication is funded by: Arts Council England, The Estate of Barry Flanagan and The Cecil and Hilda Lewis Charitable Trust.
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Written by Marsha Bradfield / Edited by Lucy Tomlins & Marsha Bradfield
Think sculpture is the stuff you trip over while angling for a better view of the paintings? Wrong. If the six events featured in this publication are any indication, it’s sculpture that’s tripping – tripping out of its three-dimensional form as it wrestles with the conditions of its own possibility. What are the realities of sculptural practice today? What does it take to not only survive but also thrive as sculptors? What are sculptural resources and what do we mean when we speak about ‘material,’ ‘skill,’ ‘ambition,’ ‘space to work’ and ‘making a living’? These were some of the issues at stake in On Your Marks, Pangaea Sculptors’ Centre’s nomadic season of events that took place in and around London between June 2013 and January 2014.
Written by Marsha Bradfield and Lucy Tomlins
A dialogue, or parallel-text, occasioned for the publication that supports Artichoke House by George Charman, an interpretation of a pavilion conceived by Edward James and drawn up by architect Christopher Nicholson circa 1936.
Artichoke House / George Charman
Published by Silent Grid with support from Arts Council England