By by Martin Thiele & Sally Marsden.
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Extra resources for Engaging Art : The Artful Dodgers Studio: A Theoretical Model of Practice
For this reason, because community cultural development is collaborative, its intellectual foundations draw on negotiated understanding, skills, thoughts and actions. A voice, or expression is a big part of being heard, hence community arts. Not fine arts, or after-hours tickets to long-dead art form voyeurism, but everyday personal experience of our contemporary selves. The art is about remaking and recreating ourselves. We start from where we are and with what we’ve got. The biggest resource is personal experiences, our stories, our life-skills, our creativity.
I can participate in the exhibition CASE STUDY 3: NATHAN I really like working towards exhibitions and would like to get to A field trip I could go on and really liked was to the island in the middle of the Yarra River to do drawings. I was content. We had to cross over to it by a barge and we walked around it and went to the museum there and sat down and drew a few pictures. The other side Oil pastel on wooden door Nathan The ‘Footy Show’ was another exhibition I participated in. The theme was ‘Bring back the biffo’ and it was about violence in football.
G. homeless young people). Firstly, consideration needs to be given to whether the artist practitioner and the community are a good ‘fit’. While it is always important that artist practitioners be clear on why they wish to work with particular communities, this is essential for those who work with vulnerable communities, such as young men and women at high risk. We have drawn up a series of questions that may assist artist practitioners to establish their compatibility with the community (see Appendix 1).