Working with Diverse Audiences - July 2011

The audio described tour of Cascade

About Working with Diverse Audiences 2011 - 2012 Fabrica presents a series of practice sharing events for artists and other professionals working with the arts in health, social care, education and gallery settings. Jointly devised by Liz Whitehead, a Co-director of Fabrica gallery, and artist Naomi Kendrick, the programme sets out to explore various approaches to working with diverse audiences, using the contemporary visual arts. The programme draws directly on Naomi’s research into and practice of a multisensory approach to engaging with people about contemporary art.  It also draws on the perspectives of other artists, researchers, social care and health professionals, to articulate the challenges and opportunities particular to these contexts – both for artists and participants. Working with Diverse Audiences comprises workshops, professional presentations and peer critique sessions. It is aimed at giving participants a rounded learning experience, and encouraging best practice.

A Focus on Second Sight. For July's round of Working with Diverse Audiences Participants were invited to attend one of two Second Sight workshops and a peer critique session. As a result Second Sight was attended by a fantastic group of participants ranging from our regulars from St Dunstans and City Synergy to professionals working within gallery education and healthcare settings. This is an account of what happened when we encountered the exhibition ‘Cascade’ by Stéphane Cauchy…

The audio described tour of Cascade

Second Sight, which I have been running for almost 10 years, is an exploration of the current exhibition through an audio described tour, and through sound, touch, smell, and group discussion. Second Sight is attended by a diverse audience and is particularly popular with visually impaired and blind people. Within the context of Working with Diverse Audiences this was a chance for professionals to take part in a multi-sensory workshop and learn through participation.

The audio described tour of Cascade

About the exhibition…‘Cascade is a kinetic sculpture in which nine buckets, interconnected by a pulley system are suspended from the roof above a large pool. Water is pumped into each bucket until, at a critical point, it tips and empties, releasing its contents into the pool below. The flow of water – from pool to pipe, to bucket and back to the pool – creates a perpetual cycle of filling and emptying. The buckets rise and fall in cascading rhythms like bells rung in a series of changes or a string of buoys set adrift on a choppy swell. Stéphane Cauchy is an installation artist based in Lille, France and he uses simple mechanical devices that often take the form of improbable laboratory experiments. He aims to give physical form to the dialogue between science and philosophy and to represent the ways in which we seek to understand the world and our place in it….’

Participants discuss their response to Cascade

Participants handle a series of objects selected by Naomi in response to Cascade and other work by Cauchy

The Response…One of the many things I enjoy about running Second Sight is the influence the participant’s response to the exhibition, has on my own singular perception of it. My experience of the work is added to through that of others, enhancing it. Participant's comments about this particular exhibition fell into two distinct areas, one was curiosity around the technical, kinetic workings of the installation. For example wondering if the work had a timer, trying to establish if there was a pattern to which bucket ‘fell’ when. The other response became graphing more philosophical ideas on to the work. For example seeing the work as a cycle of life being constantly renewed with buckets representing people ascending to heaven and others appearing simultaneously, ‘just born’. Someone suggested that is was easier to apply these existential ideas to the work because of its simple functional appearance, rather than if the work had an already organic, ethereal look to it. Other people in the group associated the work (negatively) with hospitals and morgues because of this functional aesthetic. Calm, sadness, anxiety, anticipation, curiosity and serenity were just some of the words used to describe the emotional state Cascade evoked in participants.

Participants create a made response to their discussions around 'Cascade'

Participant Feedback (Regulars)

‘The Tactile objects helped me more with creative thinking’

‘I enjoyed telling my wife about it when I got home’

'The audio description played a big part in my experience'

‘I loved it! I thought it was one of the best afternoons I’ve had in years, I felt alive (for once). It was also the right kind of exhibition for me.’

‘Found the work interesting but pointless; but am intrigued at what the next one will be’

‘A little bit more introduction to the work and the building would help. Being elderly I thought that it took probably longer time to adjust to the environment’

'I would probably not have attended the exhibition if I had not received the invitation.  Having attended, the exchange of views and ideas on the exhibition gave an extra dimension to the experience.'

(Professionals)

‘I really appreciated this (multi sensory) approach as I know the St Dunstaners would have been looking for extra information – It was very thorough’

‘Very much loved it and the installation we did afterwards. It somehow took the mystery out of public art and the hands on experience helped me to understand it better. Our impromptu response was great fun and we were rather proud.’

‘I like the description of it that was quite precise and in depth. Even as I was seeing the installation having it described gave me another appreciation.  Having had the discussion and hearing the different perspectives from the other participants helped me to appreciate the impact the installation makes.’

‘The conversation facilitation – I have a personal fear of all having to say one thing when in a circle, when it creeps around, it just doesn’t work for me. I would have preferred to have done this in break-out groups that mixed us all up a bit.’

‘For me it wasn’t more multi-sensory than I am used to! It should be standard practice to audio-describe in creative workshops, and it was nicely built into the format.’

‘It was really great; I liked the format, the style and the positive atmosphere. Very nicely done!

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My Diary –  Peer Critique
The word Isolation comes up a lot when working with diverse audiences, older and visually impaired and blind people have talked to me about feeling isolated, citing this as another reason why participating in art events can be positive. I think, particularly in light of discussions during peer critiques, that the word isolation is also of relevance to the artists who work with those diverse audiences. I refer to isolation for an artist in the professional context, rather than the far more complex and affecting form of isolation from society my workshop participants have communicated to me.

To a certain extent the problem of isolation when working as a lone artist freelancer is eased by the fact that we are often working with groups of people in for example a workshop setting. Workshops generate ideas, provoke discussion reveal shared experiences. But is it a complete exchange? We remain the facilitators, a witness to exchange rather than a true participant in it perhaps? One of the things I have really appreciated so far through working on this programme of research, is the opportunity to exchange experiences and views with other professionals working in a similar area to me, and the feedback from them has echoed this.

There is a big difference between networking and allowing time for reflection and conversation between artists, as we have been able to do in the Peer Critiques. The nature of our work means that we tend to ‘drop in’ as specialists, to different organisations, our day to day contact being with managers, volunteers and participants rather than each other. Many of us will have studios near to other artist's studios, certainly a ground for discussion. But do we really discuss the full extent of our practice here? Or just the part of it which takes place within the studio walls, what of the rest? This can be seen as a further separating out of aspects of an artist’s practice, aspects that could benefit from being acknowledged and developed as one. One of the things discussed in July's Peer Critique was the fact that as artists we have many hats, and we often feel a need to consolidate them, to treat them as a whole in order to be able to see our practice clearly and take it forward.

During the Peer Critiques it has been fascinating to follow developments in other peoples practices and to discover that the questions, sticking points and thought processes around it are more often than not the same as your own, or have been and will be again. Through listening to others you naturally begin to address things in your own work. Discovering more about exciting projects people have initiated, sharing information and ideas is a fantastic opportunity but ultimately what this affords, is moral support and a sense of belonging - Something that connects us further to the needs of some of our participants, and surely through an increase in these meaningful exchanges leaves us better positioned to develop and therefore improve the quality and scope of work we carry out with our audiences.

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The November programme of Working with Diverse Audiences will include; a hands on 'Sensory Approach' workshop for professionals, Second Sight workshops, a peer critique session and a guest speaker talk. If you would like to participate please contact Clare Hankinson  01273 778646 clare.hankinson@fabrica.org.uk for more information.

Working with Diverse Audiences May 2011

Second Sigh/ Working with Diverse Audience

In May Fabrica presented a series of practice sharing events for artists and other professionals working with the arts in health, social care, education and gallery settings. Jointly devised by Liz Whitehead, a Co-director of Fabrica gallery, and artist Naomi Kendrick, the programme set out to explore various approaches to working with diverse audiences, using the contemporary visual arts. The programme drew directly on Naomi’s research into and practice of a multisensory approach to engaging with people about contemporary art.  It also drew on the perspectives of other artists, researchers, social care and health professionals, to articulate the challenges and opportunities particular to these contexts – both for artists and participants. Aimed at giving participants a rounded learning experience, and encouraging best practice, Working with Diverse Audiences was comprised of workshops, professional presentations and peer critique sessions. 

A Multi Sensory Approach

A Multi-Sensory Approach  This half-day workshop was designed as a practical introduction to Naomi’s multi-sensory method, showing why this method is useful for working with a diverse group and as a way of encouraging participants to think more directly and personally about the many ways an exhibition can be interpreted and explored.

A Multi Sensory Approach

Professional Practice Presentation - Robin Blackledge
Robin Blackledge gave a facinating and moving talk about his multidisciplinary practice, focusing particularly on his three year residency as Audio-Visual artist-in-residence at Trinity Hospice (originally appointed by ‘RosettaLife’), London, where he created a body of legacy artworks in collaboration with the hospice user, and as a collaborative member of a clinical palliative care team. A synopsis and slideshow will be available soon. 

Second Sight / Working with Diverse Audiences

Second Sight
This was an opportunity for people to gain first hand experience of working with a diverse audience in a workshop context, by taking part. Second Sight workshops are regular events in Fabrica’s education programme – two events take place per exhibition.  Lead by Naomi, the workshops explore the current exhibition through an audio described tour, and through sound, touch, smell, and group discussion. After the workshop participants had the chance to take part in a short discussion about their experience of the workshop.

Working With Diverse Audiences Peer Critique The Peer Critique provided a space for discussion about participants’ current practice and working environment, and was a way of participants generating ideas to be taken forward.

A Multi Sensory Approach

Participant Feedback 
' I attended A Multi-Sensory Approach and Robin Blackledge's talk. Both were very illuminating. I found the workshop very welcoming, open and relaxed. Learning new ways to engage diverse audiences with art was very helpful and gave me lots of personal ideas too. The workshop was fun and creative. I have assisted and co-ordinated workshops before and this was a much for flexible way of engaging with art. I would use some of the ideas to help make activities and exhibitions more open to people who respond to work in very different ways.

Robin Blackledge's talk was very interesting, especially finding out more about how artists can work in varied settings in a positive way for individuals and their experiences. Finding out about problems for artists in these residencies was also illuminating.'

For Information about future events please contact clare.hankinson@fabrica.org.uk, or phone 01273 778646. www.fabrica.org.uk

About Working with Diverse Audiences

Second Sight

Fabrica is committed to the concept of diversity in all its forms, it's current project 'Growing an Older Audience' is a way of generating positive effects for diversifying audiences and participants, volunteers and staff. 'Working with diverse Audiences' is a series of workshops, talks and peer critiques developed by Liz Whitehead and Naomi Kendrick, that form part of this wider project.

Working with Diverse Audiences  Nov 2010 - Nov 2012
This programme of research aims to explore the relationship between artists who have socially engaged practices, socially excluded and disabled people and institutions associated with the broad area of health care, including galleries and museums.

Participants involved in the programme can expect, through participation in workshops (Second Sight) that are an existing example of good practice, and through participating in workshops designed specifically for this programme, to gain hands on experience of inclusive workshop methods. And see the importance of an artist’s skills in working intuitively and finding creative solutions.

A programme of talks will take place to include artists whose practice varies in scope and approach but has the common thread of their work with people from health care being an integral part of their practice, rather than an addition to it, and at the heart of those methods is a focus on the individual participant rather than a social category. The perspectives of institutions, socially excluded and disabled participants and other artists will be shared through peer critique sessions, and in discussions during the aforementioned workshops.

That the power within situations where participant, institution and artist meet should lie with the participant will be an important aspect of this research. And how communication, shared approach and a broadening of people’s definition of experiencing and creating art contribute to this.

This research also aims to dispel myths and tackle fears associated with providing valuable opportunities for socially excluded and disabled people to access art from the perspective of artists, participants and institutions. And to demonstrate that risks can and should be taken by all three.

My Work With Fabrica

Second Sight

 I first came to Fabrica as an artist resource volunteer in 2002, by this time I had a fledgling practice of predominantly drawing work and gained a bit of experience in delivering workshops for galleries with children. I also had a desire to research and carry out workshops for visually impaired and blind people. My interest in this area came out of research for my B.A dissertation ‘The Unseen Perspective’ a few years previously. This had been an exploration of making and experiencing art without focusing on the visual, something I was drawn to as my own work had developed multi sensory elements. Though I had not been focusing in particularly on opportunities available for visually impaired and blind people it did not take much time at all to realise this was a shockingly lacking area within the arts.

Second Sight

I recall having a 1-2-1 with Liz Whitehead Fabrica’s Co – Director, taking with me a list of everything I wanted to do as an artist. Thinking back to that list I am now doing most of those things, and the majority of it I can attribute to Fabrica’s support. Fairly swiftly Liz and I established Second Sight, then an exhibition tour and discussion workshop for visually impaired and blind participants, now it is open to all and still attended by some of the same people who came to the first workshop. Liz and others at Fabrica also acted as advisors on ‘Elephant Project’, which I established, with Arts Council Funding in 2003 (and a further grant in 2006). ‘Elephant’ enabled me to provide workshops across the country in galleries and community centers for visually impaired and blind adults and children. I employed other artists to run workshops for the project and established myself in the field.

Second Sight

In 2003 I was also employed by Fabrica as Front of House Manager and volunteer Coordinator, this in itself had a profound affect on my practice as a whole and the way in which I chose to engage with audiences and speak about art in workshops. Front of House could also be called ‘front line’ you know each exhibition from it’s delivery, installation and then through the eyes of each gallery visitor, and the volunteers. My fascination for the audience’s response to art, really started here.

Second Sight

Second Sight /Working with Diverse Audiences

In 2005 Fabrica gave me the opportunity to really explore these interests, and develop my workshop methods. I was Animateur in Residence during two shows that year, the purpose of this commission is to explore an exhibition through the perspective of another artist and their practice, and through doing this provide gallery visitors unique insights and new opportunities for engagement with the work.

Animateur in Residence

Animateur in Residence

Animateur in Residence

In the same year I accompanied others from Fabrica to Avignon and then Paris, where we lived with and learnt from Cemea France, an incredible team of artists from across disciplines who through their example and participation taught me the most important element of my socially engaged work to date - that My role is to provoke others to discover and respond to work for themselves, not to dictate how and in what form that response should materialise. Essentially that working with others in the context of a workshop and beyond is an exchange, collaboration rather than a transfer of a set knowledge from one party to another. Cemea also taught mean great deal about having a sense of fun and play in what you do, and to make use of the breadth of disciplines art has.

Cemea, Avignon

Cemea, Avignon

Cemea, Paris

Second Sight will soon be in its 10th year and it continues to shift and develop as new participants join us. And Fabrica continues to support my practice and most importantly give me the space to pursue and push new aspects of it - Most recently through ‘Working with Diverse Audiences’ and the commissioning of my work ‘Drawn to the Beat’. http://deadrabbit-ablog.blogspot.com/2011/06/drawn-to-beat-fabrica.html

Second Sight & A Multi Sensory Approach

Drawn to the Beat

A Second Sight Profile - 'Drawing Sound - Eno's Paintings'

I have just carried out another Second Sight workshop at Fabrica, in response to their current exhibition 77 million paintings by Brian Eno (guest artistic director of The Brighton Festival). I set up Second Sight in 2002, now my longest running workshop, with some of the participants regularly attending since day one. Second Sight offers a multi sensory approach to experiencing each exhibition, which begins with my verbal description of the work, explaining how it looks. In addition to this I introduce sounds, materials, even smell and tastes to offer further multiple ways in to the work. For some my interpretation is a necessity, to others it becomes another dimension to their experience of the work that they are interested in having............

Click here to read on http://deadrabbit-ablog.blogspot.com/2010/04/drawing-sound-enos-paintings.html

Related Projects

A selection of my consultancy & workshop projects that relate to this research.

'Making Conversation'

'Making Conversation' Manchester Art Gallery 2006 - Present
Making Conversation are a series of three day workshops that happen in response to the gallery's temporary exhibition programme. These adult workshops are self directed, have a multi sensory approach and are open to all. They involve an audio described exhibition tour, disscussion and individual or collaborative self directed making, in response to the exhibition. Making Conversation is attended by a diverse range of people with varying relationships to art from proffessional to first time gallery visitors. Participants work made during the workshops has taken many forms from sound art to poetry, sculpture to dance. For more information follow this link. http://deadrabbit-ablog.blogspot.com/search/label/Making%20Conversation

'Hands On'

'Hands On' Knowsley 2010 - Present
I have been working on this project in partnership with Ticky Lowe, Artist and project manager for 'Access to Heritage'. 'Hands On' focuses on day centers in Knowsley for people with learning disabilities. Through a series of workshops it aims to introduce support staff and their clients to new creative activities and give them the confidence and inspiration to continue using their new found skills them selves. For more information follow this link http://deadrabbit-ablog.blogspot.com/search/label/Hands%20On

'Sensational'

'Sensational', Manchester Art Gallery 2011. Research & Consultancy Project including workshops in response to the work of Anish Kapoor for children with disabilities and their families, and a training workshop for Gallery staff.

Coming soon - Consultancy for Adult Learning, The Hepworth Wakefield 2012. Development of workshops with a multisensory and self directed approach & providing training for the Hepworth's team of Artists.