Centre for Cultural Partnerships - Theses
Permanent URI for this collection
Search Results
1 - 2 of 2
-
ItemCraftivism as DIY citizenship: the practice of making change( 2018)As it is currently understood ‘craftivism’ is a term that can be used to describe any activity that incorporates the techniques of craft with the goals of activism. In this thesis, I consider the limitations of this conception and ask whether a more nuanced account of the value of craftivism could be developed by broadening this understanding to include seeing craftivism as a mode of do-it-yourself (DIY) citizenship. Through this repositioning I consider how craftivists can actively perform, test, rehearse and engage in the practice of democracy as part of their everyday lives. I also investigate the different ways that craftivist actions, regardless of their scale or political intent, contribute towards positive social, cultural and political change. I do this by considering how craftivism works to enhance people’s sense of political agency, foster social connection and reveal dissensus. The key question driving this research is: How does approaching craftivism as a mode of DIY citizenship empower artists and makers to actively engage in the practice of democracy and to materialise social, cultural and political change? To tackle this, I explore what approaching craftivism as a mode of DIY citizenship looks like in practice through seven socially engaged craftivism projects delivered over the course of four years. These include a variety of participatory and collaborative craftivism projects, as well as projects delivered in partnership with community groups and non-profit organisations. These projects vary in scale and political intent, and include interventions in public, private, institutional and online spaces. The material artworks and two self-published books created as part of this research project were exhibited at an exhibition titled ‘Craftivism HQ,’ which was held at Kings Artist-Run in Melbourne (7-10 March 2018).
-
ItemMiranda Must Go: Rethinking the generative capacities of critique, discomfort and dissensus in socially engaged and site responsive art( 2018)This PhD research is situated within the expanded field of public and socially engaged art. Such art practices employ participation, dialogue, community engagement and site- responsive activities to stimulate reflection and action on the present social order. This study is concerned with examining the strategies and methods that socially engaged artists employ when responding to conflict and tension encountered in the social field. Prominent advocates in this field, such as Grant Kester, have championed a socially engaged art that ameliorates social conflict by producing consensus-building, collaborative engagements and concrete social outcomes—such as an increase in community cooperation and cohesion. Attending this argument is a belief that contemporary artists should move beyond a detached, superior position of critiquing or problematising the social in their work and instead engage communities in constructive dialogue that seeks to formulate actual solutions to society’s problems. Against this view, this research explores socially engaged art’s capacity to stimulate trouble and critical reflection, contributing to social change by providing spaces to collectively confront and debate divisive problems that are overlooked and have no straightforward resolutions. Informed by theory and artistic strategies concerned with critique and disagreement’s generative capacity to stimulate bad affects and foment dissensus, this study draws on theorists such as Claire Bishop, Sara Ahmed and Jacques Rancière in order to rethink what a valuable artistic engagement with the social could constitute. Specifically, if we are to accept that deeply entrenched antagonisms and conflicts are irreducible social facts that should not be smoothed over, suspended or elided, how should a socially engaged artist negotiate tensions and divisions encountered in the social field? Furthermore—and as recent theorists such as Ahmed have contended—if vocal disagreement, refusal and discomfort are a transformative resource for a politics of social justice, how should the practical effects of critique, negation and troubling affects in socially engaged art be conceptualised? This study is significant as it contributes to socially engaged art discourse by reappraising the transformative effects and political importance of critical methods, examining how such approaches might be mobilised in the expanded field of socially engaged and public art. It does so primarily through a discussion of practice-led artistic research undertaken at Hanging Rock in Victoria, Australia, that culminated in the major artistic output of this research. The subsequent work produced, Miranda Must Go, was a conceptual campaign that made a decisive critique of the habitual, unthinking associations with a white vanishing myth at the iconic location. The work did not seek to reconcile tensions at Hanging Rock, but instead sought to productively animate them: enlarging what could be thought and felt about the site and provoking a collective review of the stories told there.