This two part workshop considers case studies in art history on the process of negotiation where art production and audienceship are concerned.
The lecture explores communities, diversities and difference, and offers variations on consideration prior to research and artistic practice involving the same. The act of planning, of stakeholding and documentation reflects the moral and ethical questions of an artist’s role and work, and its permanence or impermanence.
During the workshop session itself, the students grouped in teams to consider a particular social narrative and how they might convey that narrative within the context accounting for sensitivities in communities and audienceship. Their presentations accommodated elements of ethics and moral considerations around the political positioning of their narrative. And on the practical front, how they produced their narratives using their sources was also under scrutiny, to create a wider understanding of stakeholding and the artist’s place in his or her social milieu.
