Latest contribution from Anna Tea

Latest contribution to @TheresaEaston’s #WW1 trench & folk art project. Strong images from Ukraine.

WW1 Trench & Folk Art

Anna Tea, Ukraine, presents a series of work originally commissioned for I am the warrior an ongoing project by artists Juneau Projects which celebrates creativity and making in all its forms with Wysing Arts Centre and Kettle’s Yard’s Circuit young peoples’ group.

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Exciting new project exploring Trench Art using Mail Art is underway!

Nice blog post by @theresaeaston about her new #WW1 trench art project with @dottodotart…

WW1 Trench & Folk Art

 

Exploring Trench Art at Beamish Exploring Trench Art at Beamish

”I have been working on this ww1 Mail Art project since  August 2013, building connections with Mail Artists both nationally and internationally.   The project is now in a progress thanks to HLF funding through their Young Roots programme  and a range of partnerships including  Hartlepool Borough Council and  their Integrated Youth Support Service, with some fantastic heritage support from the Heugh Battery and the volunteers, as well as Beamish Museum,  and still to come, the Museum of Hartlepool. ” Theresa Easton

Working  with Dot to Dot Active Arts  the project will see young people and volunteers from the Heugh Gun Battery working together to explore the First World War heritage of Hartlepool and the heritage of Trench Art

4th August Beamish Museum 4th August Beamish Museum

Volunteers and young people will explore the social history behind Trench Art using First World War heritage at the Heugh Gun…

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‘All in this together’

François Matarasso’s ‘All in this together’ (2013) offers a powerful critique of the de-politicisation of art

François Matarasso

Floyd Road Mural, Steve Lobb and Carol Kenna, 1976 Floyd Road Mural (Charlton, London UK) by Steve Lobb and Carol Kenna, 1976

The de-politicisation of community art in Britain, 1970-2011

The term ‘community art’ came into use in Britain at the beginning of the 1970s, at a time when the cultural experimentation of the 1960s was confronted both by harsh economic conditions and by more concerted resistance from a cultural establishment beginning to recognise the nature of the challenge to its authority it was facing. Community art was used to describe a complex, unstable and contested practice developed by young artists and theatre makers seeking to reinvigorate an art world they saw as bourgeois at best and repressive at worst.

The phrase ‘community art’ fell out of favour at the beginning of the 1990s, to be replaced by the seemingly-innocuous alternative, ‘participatory arts’, though the original term is still used by some people and may even be in the…

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AGL: above ground level

As founder of dot to dot active arts CIC – a member organisation for socially engaged artists and arts workers that’s fiercely independent and always grassroots – I’m committed to working with communities and our artists to develop new ideas to mix art and life openly and honestly.  We worked in Blyth, Northumberland last year,…Read more AGL: above ground level