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Art As Advocacy. Exploring Curatorial Practice by Learning Disabled Artists As a Site for Self-Advocacy

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Art As Advocacy. Exploring Curatorial Practice by Learning Disabled Artists As a Site for Self-Advocacy View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by White Rose E-theses Online Art as Advocacy. Exploring curatorial practice by learning disabled artists as a site for self-advocacy. Jade French The University of Leeds School of Fine Art, History of Art and Cultural Studies October 2017 1 The candidate confirms that the work submitted is her own and that appropriate credit has been given where reference has been made to the work of others. This copy has been supplied on the understanding that it is copyright material and that no quotation from the thesis may be published without proper acknowledgement. The right of Jade French to be identified as Author of this work has been asserted by her in accordance with the Copyright, Designs and Patents Act 1988. © 2017 The University of Leeds and Jade French 2 Acknowledgements I would like to extend thanks to the many people who so generously contributed to, and supported the work presented in this thesis. Firstly, I would like to thank the curators - Leah Jones, Hannah Bellass, Tony Caroll, Diana Disley and Eddie Rauer, the artists - James Harper, Mark Simmonds and Alaena Turner, and support - Abi Burrows and Donna Bellass, for their generous insight, hard work and unwavering commitment during this project. They attended a year’s worth of weekly workshops with enthusiasm, and I really could not have done this research without them. Their passion for both the arts and advocacy remains a source of inspiration to me. I would like to also thank my brilliant supervisory team - Helen Graham, Mal Hampson, Bec Fearon and Emma Rushton. My PhD has been a truly amazing experience and I believe this is mostly down to the fantastic support I received. I thank them wholeheartedly for their generous time and encouragement, and for also giving me so many wonderful opportunities along the way. Special mention to Helen Graham for her tremendous academic support, from enabling me to pursue the PhD scholarship to writing this thesis. Thank you, thank you, thank you. Many thanks to the staff at all the partner organisations - Halton Speak Out, Bluecoat, University of Leeds - who contributed time and welcomed me into their places of work. This project would also not have been carried out without financial support. A big thank you to the Arts and Humanities Research Council for selecting this project for scholarship, the Arts Council England for contributing to the exhibitions costs, and the White Rose College of Arts and Humanities who have personally supported me to attend a range of training and international conferences to disseminate this work. I am so grateful for the experiences their contributions have afforded me. Finally, but by no means least, thank you to my family and friends. Melaneia - thank you for the many conversations and words of encouragement, Andy - thanks for listening (and for the brews). 3 Abstract Over the past 40 years within the UK the concept of self-advocacy has gained momentum by enabling learning disabled people to speak out in order to affect change. In the same period, inclusive approaches have been taken up both in research and in the arts, reflecting a growing recognition of learning disabled people as researchers, artists, performers and communicators. Yet curation has rarely been used as an inclusive practice and then principally in museums dealing with history rather than in the context of art galleries. Via a practice-led research approach, Art as Advocacy addressed this gap by exploring the potential for curatorial practice by learning disabled artists to act as a site for self-advocacy. It brought together members of self-advocacy group Halton Speak Out and members of Bluecoat's inclusive arts project Blue Room, to curate a visual arts exhibition titled Auto Agents. These curators developed an exhibition theme, collaborated with artists, commissioned new artwork and designed accessible interpretation for audiences. Through curating Auto Agents, the purpose of this research has been to produce a rich account of the ways in which curatorial and self-advocacy practices intersect. This intersection, whereby tools found in self-advocacy were carried over into curatorship, provided new methodologies that enabled curating to become an inclusive practice. This attention to process results not only in curating becoming more usable by more people, but also more transparent and rigorous. By achieving this, this research delineates to understanding the processes and practices by which our cultural spaces can become democratised. 4 Table of Contents Introduction ................................................................................................................................ 8 Summary ........................................................................................................................................... 10 Thesis Structure ................................................................................................................................ 11 Data Collection .................................................................................................................................. 13 Ethical Approval and Informed Consent .......................................................................................... 13 Project Website ................................................................................................................................. 15 The Cast .................................................................................................................................... 16 Halton Speak Out .............................................................................................................................. 16 Bluecoat ............................................................................................................................................ 16 Curator: Hannah Bellass ................................................................................................................... 17 Curator: Tony Carrol ......................................................................................................................... 18 Curator: Diana Disley ........................................................................................................................ 18 Curator: Leah Jones .......................................................................................................................... 18 Curator: Eddie Raurer ....................................................................................................................... 19 Artist: James Harper ......................................................................................................................... 19 Artist: Mark Simmonds ..................................................................................................................... 19 Artist: Alaena Turner ......................................................................................................................... 20 Support: Abi Burrows ........................................................................................................................ 20 Support: Donna Bellass ..................................................................................................................... 20 Act 1: Prologue .......................................................................................................................... 21 Setting the Scene: Inclusive Arts ...................................................................................................... 22 The Self-Advocate ..................................................................................................................... 31 Citizens Not Victims .......................................................................................................................... 31 ‘Speaking Out’ ................................................................................................................................... 34 Autonomy… It’s Complicated ........................................................................................................... 38 The Curator ............................................................................................................................... 41 The ‘Autonomous’ Curator? ............................................................................................................. 41 No Curator Is An Island ..................................................................................................................... 45 Curator as Commissioner ................................................................................................................. 48 Is Everybody a Curator? .................................................................................................................... 49 Act 2: So, What Is A Curator Anyway? ....................................................................................... 52 Visiting Galleries and Museums ........................................................................................................ 53 Reflecting On Visits Together ........................................................................................................... 61 An Exhibition Theme Emerges .......................................................................................................... 65 Act 3: The Commissioners and The Commissioned ....................................................................
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