ArtWorks: A call to action, March 2015
Drawing on the learning from ArtWorks, this publication calls on the sector to build on our work and create better support for artists. It sets out actions we believe must be taken if we are to see the changes our sector needs. Some of our recommendations are aimed at particular groups within the participatory arts ‘system’. Others apply to us all.
ArtWorks: Reflections on developing practice in participatory settings, Susanne Burns, March 2015
This report sets out the ‘why, ‘what’ and ‘how’ of the programme, reviewing what was learned about the training and development needs of artists; methods for promoting quality; and creating the conditions for change. It invites those sharing a commitment to participatory arts and understanding the benefits of strengthening support for artists to join in developing a collective voice to match strong collective practice.
ArtWorks: A view from funders, Susanne Burns with contributions from Janet Archer, Diane Hebb, Phil Cave and Regis Cochefert, March 2015
ArtWorks research has shown that funders can help raise the profile of participatory arts and promote quality by encouraging employers and funded organisations to embed paid opportunities for artists’ training and CPD within projects. Four funders share what ArtWorks success could look like in five years’ time: the work being properly valued; artists’ development supported; a quality framework focused on the participant experience; and more joined up working.
ArtWorks Evaluation Final Report, dha & the Institute for Cultural Practices, University of Manchester, March 2015
The evaluation team’s reports explain how they have mapped and analysed ArtWorks as an initiative – using an ‘intervention model’ against which to understand progress against aims; assessing its size and scale; undertaking conceptual clustering of activities; and modelling partnership approaches. It also details their findings. Key achievements noted include: new partnerships and relationships; contribution to the critical mass of knowledge in this area; pathfinders and partners better informed about artists’ needs; tested and transferable models; the engagement of national funding agencies; and strong indications of legacy work.