Titlebook: Rhetoric, Social Value and the Arts; But How Does it Work Charlotte Bonham-Carter,Nicola Mann Book 2017 The Editor(s) (if applicable) and t

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From Social Inclusion to Audience Numbers: Art Museums in the New Public Managementter concludes that the political and administrative climate fostered by NPM is a useful framework for understanding how the collection of audience numbers became a key data set for museums in the late twentieth century.

吞噬

PERCENT FOR GREEN: Creating Space as Consciousnessnsiders education as a possible medium in social practice projects and takes a close look on the idea of learning, collective consciousness, US educational trends, and how social practice art appears within this backdrop.

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Mawkish

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Introduction,es the benefit of acknowledging the social, political, economic and artistic agendas that charge the cultural sector today. The editors explain the four constituent subsections that make up the volume: Part I ., Part II ., Part III ., and Part IV . Parts I and II serve to map out the contextual foun

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From Social Inclusion to Audience Numbers: Art Museums in the New Public Managementocial inclusion. However, the administration mostly failed to offer a clear explanation of the concept of social inclusion, and its relevance to art museums. This chapter argues that the ambiguity of the New Labour social inclusion agenda, coupled with the administration’s demand for evidence, meant

MUT

Rethinking the Social Turn: The Social Function of Art as Functionless and Anti-Social turn in art during the 1990s. One of the problems identified as stemming from such reflection is that the concept places excessively narrow normative constraints on notions of artistic practice, often to the detriment of less explicitly utilitarian works. The intention is to bring to light the pres

maverick

The Paradoxical Engagement of Contemporary Art with Activism and Protesttal communities, and anti-establishment art spaces resist the systematization of the corporate logic. With what has been described as a “social turn of art,” we witness a shift in art’s engagement with politics, from igniting critical awakening in society to creating communal and egalitarian relatio

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, On Tania Bruguera’s ,rst, I trace the genealogy of . as a reaction against the Anglo-European category of “Performance” art, which anchors her work to a cultural tradition outside of the English-speaking context. Then, I discuss how Bruguera’s practice is informed by her engagement with the ., a short-lived correctional