Titlebook: Art in Community; The Provisional Citi Rimi Khan Book 2015 The Editor(s) (if applicable) and The Author(s) 2015 aesthetics.art.culture.econ

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Art as Aesthetics, Culture and Economy,mocratising agenda of community art. These tensions are exacerbated by the contemporary art world’s recent interest in community, its tendency to reinstate existing hierarchies of power and its links to economic rationalisations for the arts. Recent governmental interest in the value of ‘creativity’

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The Multicultural Artist as Citizen,rged in Australia, and analyses the experiences of a number of multicultural artists, highlighting the relationship of mutual dependence and affirmation they have with the organisation, Multicultural Arts Victoria. Critiques of the politics of multicultural display and consumption might regard this

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Conclusion,nts to shape one’s own existence, and is also defined by a responsibility to live communally. In this respect, the provisional citizen is a reflection of both wider political conditions and the specific cultural settings of art in community. These forms of citizenship take place alongside a pluralis

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https://doi.org/10.1007/978-1-4757-4019-6ngent forms of power. The artists negotiate relations of difference through personal projects of art- and self-making. These in turn highlight how the work of such arts organisations might reconfigure the boundaries between art worlds, and enable citizens to move between these.

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M. Hangl,A. Börger,R. Danzer,H. M. Luxnercounters call for close attention to the specific interests and experiences of those involved in art-making the practices by which they make claims to power, and the relative sorts of advantage they accrue.

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From Consensual to Open-Ended Communities,practical problems with defining community. While historical definitions of community have tended to rely on consensual and homogenising visions of community, community arts’ organisations have a role in enabling more provisional and open-ended forms of belonging.