Creative Collaborations Engaging with Visual Arts and Crafts Today Our Aim the Scottish Arts Council Champions and Sustains the Arts for Scotland

Creative collaborations Engaging with visual arts and crafts today Our aim The Scottish Arts Council champions and sustains the arts for Scotland

© 2003 Scottish Arts Council No part of this publication may be reproduced in any formatwithoutprior written permission of the Scottish Arts Council. Please note thatnotall the views expressed in this publication necessarily represent those of the Scottish Arts Council. Published by the Scottish Arts Council in collaboration with engage Scotland ([email protected]). Written and researched by Rebecca Marr, Christopher Naylor and Kate Tregaskis.

The Scottish Arts Council would like to thank all those who have contributed by providing project material and interviews, without which this publication would not have been possible.

Cover image: Case Study: Now & Then Image: The pupils of StBridget’sPrimary School and Street Level Photoworks, Glasgow

Equal opportunities The Scottish Arts Council operates an equal opportunities policy. Our offices have disabled access. Certain publications can be made available in Gaelic, minority ethnic languages, in large print, Braille or audio format. 1

‘We loved the photographs. We thought the computer was great. Our banner was very catchy. When the photographs arrived in the school hall, the teachers were amazed.’ (pupil)

‘The activity was tailor-made! Our session was perfectfor the concentration of our pupils, they were excited, delighted and completely enthralled by all the aspects.’ (teacher)

‘I didn’tknow I had itin me to be an artist. They [the artists] brought it out of me and I opened up like a flower... Last week, I wentshopping with a friend and boughtsome more materialsbecause I’m desperate to make more art. I have all sorts of ideas.’ (hospital patient) Big Draw Education Residency led by artist Katy Dove atThe Changing Room, Stirling. Photo: Kirsteen Macdonald 3

Contents Page

Foreword 5

Is artworking for you? 6

Case studies: Ban-za-Ban 10 Fusion 12 Big Hand, Little Hand 14 Now & Then 16 Paradise Carpet 18 Wealth of Vision 20 Dovetail 22 Royston Road Project 24

What next? Good practice guidance 26

Gallery education contact details 28

Other support material 29

Case study details 30

Further reading 32 Case Study: Wealth of Vision Image: National Galleries of Scotland, Lloyds TSB, RightTrack Glasgow & Janie Nicoll 5

Foreword

This publication is for people who are Many of these specialists are new to planning visual arts and crafts members of engage Scotland, the projects for schools or the community association of professional gallery – and for those who wish to take a educators which is supported by momentto sitback and reflecton the Scottish Arts Council and was whatnew approaches mightbe made. commissioned by us to develop Itis nota ‘how to’ manual, buta this publication. In the coming year selection of projects from a diverse engage will be launching a website, range of participants, which have which will include more case studies, excited, challenged and enthralled and be a source of other useful those involved: pupils, local information, such as a regularly- residents, artists, managers, partners updated list of Scottish members. or funders. The greatdifficultywe had in Educational activities in visual arts selecting the case studies – all but and crafts outside the formal one of which are from projects we education system are often skills- have funded – is a mark of how based: the pottery class or, perhaps successful these new approaches are. more recently, the digital camera There are so many good examples workshop. The projects described – we have noteven been able to here are all aboutlearning new skills, include all of those who won national new ways of thinking and expressing awards for their work. The Scottish ideas unique to the individual or Arts Council is convinced that the group. In addition they are about funds committed to these areas have empowerment– building the been very well invested. I hope that confidence of all involved with art and the contactlistatthe back of this with Scotland’s network of galleries. publication will guide you to a specialistin your area to assistin All the projects make use of the developing your own unique projects. growing number of education specialists working in galleries and arts organisations. These specialists develop flexible and imaginative approaches to encouraging the community into the gallery – and to bringing the art and Graham Berry artist to the community. They work Director with school, community and other Scottish Arts Council groups to plan and deliver tailor- made projects; provide a ‘dating agency’ to match artists to projects; and even take the pain out of paperwork through their experience of ‘how to’. 6

Is artworking for you ?

The new art scene

Galleries, crafts spaces, arts centres of an artistwe mightbe working accessible organisations. The notion – the venues thathouse artand alongside, whether in a gallery’s that there is some official ‘meaning crafts today – have something education room or in a school or of art’, only understood or enjoyed special and important in common: community setting. Indeed, working by an elite, is largely gone. they are places that offer us exciting, alongside a living, practising artist powerful encounters with works of can be one of the most powerful Nearly half a century of art – with what artists are making, experiences for those new to art. democratisation of the arts has thinking, feeling – or what they have resulted in new opportunities made, thought, felt. Art and the galleries or other places to engage – opportunities created where we find artoffer a unique by new staff to assist visitors’ Galleries offer these encounters in and particular combination of enjoyment, by new art which is a social space where, as we engage experiences and stimuli that can made with public participation, by with art, we engage too in what reach people on many levels. Art new ways of organising projects and others think and feel. These are is made by or with artists who as activities in the gallery and outside. spaces where we test our own views individuals bring years of experience and ideas aboutthe artin frontof us and thought, and their art embodies This reportis aboutthese and around us. We are stimulated to these personal perspectives. Art is opportunities and how they can explore and discuss – while looking enjoyed by individuals who bring be relevantto everyone involved atlabels, talking to staff, reading their own views and backgrounds, in planning or developing cultural exhibition notes – whether we visit and take away their own personal programmes – for schools or for as adults, or children, or families. responses, having learntfrom and community groups. The report also been stimulated by the encounter explores the importance of gallery Even when this artisn’tcontained – making their own ‘meaning’ for education staff – whose work is in a particular building we can of themselves. about much more than either course be intrigued and excited by ‘gallery’ or ‘education’ – in it: historic statues and the stories The visual arts and crafts, and the providing essential advice and they tell, or the public art of today. galleries and other venues that supportto assistteachers and We can even be intrigued by the art house them, have changed enor- pupils exploring artfor the firsttime, of the future, the art that doesn’t mously in the last 50 years. Galleries and in helping create exciting art or existexceptsomewhere in the mind are committed to being open, crafts projects. ‘projects can successfully fuse art and play into a coherent learning experience’

Case Study: Ban-za-Ban. Making Light Sculptures. Photo: An Lanntair, Isle of Lewis 7

In — and out of — the gallery?

The key encounter which a gallery should make real is the encounter with art — with the ideas and the feelings of the artist, with the special quality and power of a work of art. To facilitate this, the present-day model of the gallery is much more a ‘forum’ for discussion and exchange than that of the gallery as ‘temple’, a place to kneel atthe feetof ‘greatart’. The gallery now offers a distinctive but ‘safe’ environment, with staff trained to welcome and assist visitors of all kinds.

But galleries and arts centres are not justplaces to visit. Theyare active players in the community: centres of expertise and knowledge about building access, and bases from which to develop outreach. Galleries can function as information and advice centres for those wanting to develop new projects. They can be collaborators and ‘co-conspirators’ on new projects inside or outside the gallery.

Artists trained or experienced in education or community work can also provide expertise and support to develop such projects. Many areas now have artists’ agencies interested to discuss how their networks might assist. There is also an increasing number of freelance arts educators with experience of developing activities for schools and community, often bringing together appropriate artists and arts venues. Case Study: Ban-za-Ban. Making light sculptures. Photo: An Lanntair, Isle of Lewis 8

Butwhatdoesartshow us? together builds language ability; with the more controlled teaching working together on a project environments of many educational Engaging with a work of art can be develops team-working; thinking institutions. In an open-ended, a powerful transforming experience aboutand responding to art self-directed gallery environment, for a young person. The firstcontact develops intellectual and where there are no fixed answers, can have a profound effecton young communication skills. the visitor can ‘learn about learning’, people. Those of us who work in they can ‘learn how to learn’. galleries are familiar with comments Some of these learning experiences such as ‘I didn’tknow artwould can relate to involvement in the The special nature of art, embodying make me feel like this’, or ‘that’s creative industries. Critical personal expression and response, really made me think’. understanding of imagery, can engage people in all parts composition and visual style is of society. It can motivate the Directcontactwith artalso offers a essential to anyone pursuing a unmotivated child who does not fit wide range of other developmental career in design, film, architecture, the classroom environment. It can experiences. Some of these are or advertising. stimulate the excluded to engage more formal ‘learning’ experiences with the community more fully. But, – learning aboutthe development For people from more formal for many, unlocking this response of an artist, the practical skills of a learning environments – schools, depends on appropriate trained particular craft form, the history or colleges, adult education – the supportin the gallery. geography of a place recorded by gallery can offer a different the artist. potential. A one-to-one encounter with art is an interactive experience Some of these are less specific but which the gallery visitor is in charge Over 60s Drawing and MovementWorkshop led no less important: discussing art of and crucial to. This contrasts by Johnny Gailey atAn Tuireann, Isle of Skye. Photo: An Tuireann 9

New people in the visual arts programmes (see contact details working with schools or on page 28) community groups New ways of making art and new New, more democratic, approaches ways of organising projects and to the gallery and to art have activities broughta new commitmentto helping visitors develop their Justas galleries have changed, so understanding and enjoyment. has art. Artists and makers are Projects are carefully planned to experimenting with different ways meet the needs of the audience of working with the public. As well concerned, through preparatory as community art and public art discussion, gallery visits, artists projects, there are now workshops, or outreach events. ‘collaborative’ and ‘participative’ art projects where artists develop or Increasingly galleries and arts create work with the public. Such venues have specific staff whose job approaches often result in artwork it is to work with the public to meet that has a wider public profile, their needs, whether through school whether as part of a gallery visits, community projects, or in- programme or in the community, Scheming Project, Dumbiedykes, Collective gallery interpretation. These gallery and so can build public Gallery, Edinburgh. education staff are key people for engagement, promoting the Concept: Lyn Löwenstein and Andrew Wishart anyone considering working with inclusive message that such galleries, or indeed planning visual involvementand access entails. This professional advice and inputfrom arts or crafts projects elsewhere in change in artpractice also offers the outset to maximise positive the community. Gallery education exciting new possibilities for school outcomes for all concerned. Above staff know how to arrange a visit to and community groups. all, such collaborations keep art and the gallery, which artists to involve artists centre stage, empowering in workshops and interpretation, New opportunities for enjoyment of visitors to embrace the excitement and what other agencies work with galleries and the arts and stimulation of engaging directly in the community. with the visual arts and crafts. The case studies presented here These gallery educators are from demonstrate how creative and Christopher Naylor, engage backgrounds including fine art, vibrant the visual arts and crafts teaching, and art history. They can sector is in Scotland, and what be ‘creative catalysts’, inventing opportunities there are for broader new projects and visit formats; access and involvement. Galleries, they can be ‘audience champions’, artists and arts agencies are seeking to ensure visitors’ needs are creating exciting collaborations reflected in their organisations; they with schools and other bodies can be learning and access experts, which provide memorable and able to shape contactwith artto life-changing experiences for maximise understanding and participants. enjoyment. Gallery educators are an essentialfirstpointof contactand These are partnership projects often become key collaborative that are creatively conceived and partners on new education expertly planned, involving 10

Case study: Ban-za-Ban

Initiated by An Lanntair Arts Centre, was surprised by the intensity of enthusiasm for, and a knowledge Stornoway their reactions. When “It’s a Girl!” of, bringing participants and Working with pre-school children was shown to them, they jumped artists together. around the room giggling and Based in the Gaelic playgroups of pretending to be bunnies; they A different perspective Uig and Bernera, Isle of Lewis really responded to the colours and shapes,’ says Elsie Mitchell. The projectaimed to balance ‘All the children wanted to get inside looking atand experiencing the the sculpture. It was so attractive The artists visited two Gaelic artists’ work with participatory and so different. The quantity and playgroups, Cròileagan Uig and activities and the realisation of the quality of experience was excellent.’ Cròileagan Bhearnaraigh, showing children’s ideas. Elsie Mitchell Playleader the children their work and comments: ‘The artists brought a encouraging the children to make differentperspective. Itwas a Ban-za-Ban, a giant‘bouncy models of their own. Using elements valuable experience for the children sculpture’, was the outcome of a from the children’s paintings and to have contact with adults whose collaboration between the children models and suggestions, the artists occupation in life is translating of Uig and Bernera and artists Susie created three new designs. These ideas, thoughts and perceptions Hunter and Iain Kettles. Over 100 were then presented back to the into visual or multi-sensory forms. children attended its launch. The children who selected their To have firsthand experience of projecthas had a good response favourite, which was scaled up to a art, unmediated through books or from the community and demand giantbouncy sculpture. When asked television, was also very positive. for arts opportunities has risen. why she liked the models one three- The whole projecthas made me Ban-za-Ban is now available to the year-old participant responded: think about further possibilities for community for gala days and events. ‘’cause, cause, this one has got interactive exhibitions and art spots and this one has as well. I like projects directed at young children. I A collaboration between artists the pinky one and this gorm [blue] feltitsuccessfully fused artand play and children one. I’d bounce on itinside there into a coherent learning experience.’ when it’s big, really really big, I Elsie Mitchell, Visual Arts would getinside.’ An Lanntair subsequently hosted Education Officer at An Lanntair, Air, an exhibition of inflatable commissioned the artists to create Such planning and consultation are sculptures by Susie Hunter and a new public artwork doubling as a key. Elsie Mitchell advises: ‘Plan a Iain Kettles, together with a play resource for the children of quality experience from the start – photographic and video record of Lewis and Harris. The projectdrew consider the choice of artists, their collaborations with children. on the artists’ work to inspire the materials, the suitability of the children, who in turn inspired the activity to the age group, the ratio of final work: a combination of the participants to workers and realistic children’s ideas, and the artists’ timescales for what you hope to approach. achieve; consultbeforehand – make sure people are interested in what ‘The artists are well known for their you plan to deliver; and keep up humorous, colourful inflatable communication – make sure sculptures including “It’s a Girl!”, a everyone is well-informed and three metre high pink rabbit head. involved in decisions.’ Elsie Mitchell I knew people would be able to sees the gallery educator’s special access their work. When the artists contribution as a mediator with an showed their work to the children I Making models. Photo: An Lanntair Inflatable sculpture. ‘it’s a valuable Photo: An Lanntair experience for the children to have contact with adults whose occupation in life is translating ideas, thoughts and perceptions into visual forms’ 12 ‘the positive relationships formed during the project were key to its success’

Case study: Fusion

Initiated by Artlink ‘Within Fusion there have been role of art and artists within the Collaborations with patients a variety of outcomes, from the healthcare context. artworks produced for exhibition to Based in hospitals in Edinburgh and the establishment of successful The outcome of Fusion has been art the Lothians working relationships and the that operates on many levels, a encouragement of participants to testament to the potential of ‘Ithelps me work when I know that explore other opportunities in the sustained involvement: commenting someone is coming to look at my arts. In developing the programme on complex social issues, work and talk about it.’ we tried to build on the dynamics representing personal achievements Participant of these relationships, positively and challenging perceptions of art. profiling the different personalities Continually questioning its Fusion was a three-year project involved and ensuring their equal approach, Fusion was altered involving one-to-one collaborations influence on the process. We have throughout its three years by the between artists and patients and a found that the individual’s interests, participants and artists. series of eightcommissions placing ideas and skills have grown artists in hospital departments. throughouttheir involvementin The resultis Functionsuite, a new the project. As a result the work programme which investigates Positive relationships produced has become harder the changing function of the arts to pigeonhole,’ says Anne Elliot, within healthcare. Functionsuite Artlink is an organisation that Artist Team Leader. will research how the hospital supports the rights of people who community can further influence experience disability to access The positive relationships formed in more responsive contemporary arts the arts. Fusion grew out of the Fusion, based on understanding and practice. Seeking to influence the long-term relationship fostered by trust, are key to the programme’s processes artists employ to Artlink with four NHS Trusts, and success. This required time, collaborate with the wider hospital built on collaborative practices sustained involvement, and a community, challenging the role of developed through the hospital arts safe and creative environment to the artist as ‘sole owner of the programme. flourish. Artists met with patients artistic process’. through open workshops, and Fusion culminated in My Father is over time the artists responded ‘Realising that the process of the wise man of the village, a major to participants’ increasing engagementcould have a greater exhibition at the Fruitmarket Gallery, involvement, shaping as a result a impacton some people or be more Edinburgh and a publication with series of creative opportunities. meaningful than the final artwork, DVD. ‘Explorations in collaborative has made me re-evaluate...(and) practice’, the subtitle to the Challenging roles endeavour to stay focused on the publication, carefully places presentand open to whatis the emphasis of this project on Themes in patients’ work would happening,’ says Michelle shared process. The explorations, often have a resonance to a specific Naismith, artist. undertaken by both the patient and artist’s practice, and the project the artist, placed emphasis on responded creating specific mutual value, a way of working individual projects or by inviting based on a mutual interest in the relevant artists in to collaborate. developmentof an artsidea. The process often challenged the (1) As Artis to be Criticised, Colorado 2000 (Jocky/ Anne Elliot). (2&3) Mobile Library 2000 (MargaretCairns/Kate Gray /Anne Elliot). Photos: Anne Elliot 14

Case study: Big Hand, Little Hand

A partnership project between expanding their understanding of Schools were invited to send in Dundee Contemporary Arts and vocational possibilities. their own proposals for craft work Dundee City Council Education and sites for permanent pieces, Department ‘Everyone seems to have discovered regardless of budget, and to outline Contemporary Craft Makers’ School a differentway of looking atthings... staff development needs and Residency projects the keenness of those involved curriculum support. Craftmakers seemed to enthuse everybody and were invited to apply indicating how Based in primary and secondary the whole school was waiting to they would structure work with schools in the Dundee area see the final product,’ says Geoff schoolchildren of either primary or Roberts, craftmaker-in-residence at secondary age, whether they had ‘I think we were all lucky to be able Longhaugh Primary School. experience with schoolwork or not. to make paper with an artist… because how often do you come across somebody who can make ‘everyone seems to have handmade paper and does itfor a living?’ discovered a differentway Pupil of looking atthings... the ‘[The craftmaker] has inspired me to do more art.’ keenness of those involved Pupil ‘I have learned how to work better seemed to enthuse everybody with people and tools.’ and the whole school was Pupil waiting to see the final product’ Big Hand, Little Hand has brought eightschools in the Dundee area (1) Liz Rowley, Stained glass maker working with Primary 7 pupils of St Lukes and St Matthews. together with contemporary craft (2) Glass mosaic window ‘Let’s Learn’ by the pupils. Photo: DCA Community and Education Programme makers, involving 400 pupils and staff. The programme of residencies aims to be a sustainable model of good practice for education, employmentand exhibition in contemporary crafts, inspired by the original Big Hand, Little Hand scheme developed by the Devon Guild of Craftsmen.

Expanding understanding

The residencies gave pupils an opportunity to gain craft skills, to work creatively together and produce permanentworks in the schools. They also benefited from learning firsthand aboutpeople working in the creative industries, 15

Proposals from schools far outnumbered the number of residencies that the scheme could fund appropriately (16 received and 8 supported). There was also greatinterestand response from craftmakers (32 applications), which broadened the team’s and the school staff’s expectations. The range of projects and calibre of people involved highlights how schools can offer attractive working environments and a showcase for craftspeople.

Partnership potential

‘…I do think that the school has to see the importance of taking part in any such projectto achieve itsfull potential. This happens when school staff members are open-minded and the project organiser has prepared the ground properly. For my part both these criteria were present in the Big Hand, Little Hand project and I feel privileged to have taken part in it,’ Jeweller Geoff Roberts’ Residency at says Liz Rowley, stained glass maker. Longhaugh Primary School. Photo: DCA Community and Education Programme Sarah Derrick, Head of Education atDCA, found thatthe teachers’ the groundwork for each project. ‘The unique nature of our project, professional developmentrequests Residencies were ‘phased’ to matching craft makers with identified centred on 3D skills. They were run in succession rather than school-proposed projects, made all seeking confidence with a wider range simultaneously, as this allowed parties stakeholders... resulting in of materials and with a broader organisers to learn from each project a sense of ownership for everyone,’ experience of contemporary craft/art and further develop the programme. says Moira Foster, Learning practice. Resources Co-ordinator, Dundee Learning outcomes City Council Education Development Craftmakers were then ‘matched’ to Services. each selected school proposal based Teachers were impressed athow each on quality, skills and availability. projectencompassed a number of Distance was not seen as a barrier required learning outcomes in a and travel and accommodation costs variety of subjects including Art and were planned in the budget. A large Design, Technology, Language, Maths amountof supporttime was spenton and IT as well as the social skills planning, exchanging information, developed in teamwork, co-operation training where necessary and laying and decision-making. 16 ‘when the photographs arrived in the school hall, the teachers were Case study: Now & Then amazed’

Initiated by Street Level differentneeds were valid. We (the Direct experience Photoworks, Glasgow gallery) wanted to develop quality Working with 10 primary, secondary projects whilst engaging with as Now & Then gave pupils direct and special schools across Glasgow many pupils as is productively experience both of a range of feasible. So the challenge was to lens-based media notavailable offer a range of different activities through normal school resources, ‘When the photographs arrived with different schools responding to and of contemporary and in the school hall, the teachers differentneeds.’ historic artists’ work. Now & Then were amazed.’ encouraged self-expression and Pupil In Now & Then, each school was created opportunities for pupils to allocated a decade from the 20th experience a public profile for their ‘Introducing artists to schools, century for research into local and work. In addition to obvious especially atprimary level, has been national history. Artists then worked progress in understanding recognised as a much-needed with pupils exploring photographic lens-based media, and Glasgow’s supportfor teachers in their delivery techniques that animated the history, other outcomes for pupils of the Expressive Arts curriculum.’ research material gathered, included permanentartworks in Gallery director generating a visual commentary on some of the schools, a high-profile the last century described by pupils exhibition at Street Level, and a Now & Then was a summer-term from across the city. The theme also CD-ROM and website presence. projectcreated by StreetLevel allowed for curriculum links to be Photoworks, matching seven artists made alongside pupils’ and artists’ ‘We loved the photographs. We with 10 Glasgow schools in a linked own interests. thought the computer was great. Our series of photography-based banner was very catchy. When the workshops, partof a larger ‘The activity was tailor-made! photographs arrived in the school education programme entitled Our session was perfectfor the hall, the teachers were amazed. The Artworks with Young People. Street concentration of our pupils; kids at the school thought they were Level Photoworks is a gallery, they were excited, delighted and greattoo,’ says a pupil, Barrowfield education agency, and training and completely enthralled by all the Primary School. production facility for chemical and aspects. The darkroom was digital photography, and for new particularly good and different. ‘Itwas clear by their behaviour and media. We are now organising our own attendance that the young people arts initiative grant to be used gota lotfrom the project. Several of Responding to different needs for photography,’ says Alison them were dismissed from the unit Gilmore, teacher, Gadburn halfway through the project, but Education Co-ordinator Iseult Primary School. they came back to the hospital each Timmermans described the planning week for the remaining sessions, process: ‘In devising the programme justto finish their work – itwas we tried to find ways of responding incredible. I really enjoyed the to the different wishes expressed in project; they were a challenging pastwork with teachers, pupils, group butvery rewarding,’ says artists and funders. Teachers wanted Rachel Mimiec, artist, Gartnavel more pupils involved, artists wanted Royal Hospital School. fewer, pupils wanted more of everything and funders wanted to see lasting benefits. From the gallery’s pointof view, all these Work of Kelvinhaugh Primary School Photo: The pupils and Street Level Photoworks Work of Ashcraigs Secondary School Photo: The pupils and Street Level Photoworks 18

Case study: Paradise Carpet Project

Initiated by National Museums of attended their sessions, creating a The idea of the project was explored Scotland and Glasgow Museums in large body of work for the carpet in preliminary workshops in partnership with Project Ability, using a variety of techniques… Edinburgh and Glasgow where Glasgow Although language and art skills participants were introduced to Working with the Muslim ranged enormously, the theme of textile techniques such as appliqué community, in Edinburgh and the carpets was one everyone could and embroidery. Museum Glasgow museums relate to. Confidence was high: this workshops introduced the groups to is shown in the quality of the work the collections and encouraged the produced,’ says Sandi Kiehlmann, group to consider the importance of ‘Practical activities in an informal lead artist. their contribution of a new textile. atmosphere encouraged creativity – and also stimulated talk and thereby For their contemporary ‘paradise The projectwas unable to meet English language acquisition.’ carpet’, participants worked in demand from schools in Edinburgh, Supportservice worker sections, creating their individual and this has influenced future vision to become part of the planning by the National Museums Some 600 people took part in the collective piece. Museum visitors of Scotland Education Team. The National Museums of Scotland and were able to contribute to the carpet team continues to programme Glasgow Museums’ Paradise Carpet during ‘drop-in’ sessions. This gave projectsthathighlightand reflect Project, which used Islamic objects visibility to the project, and cultural diversity. from the museum collections – in encouraged participants’ confidence particular the 17th century Wagner in their textile skills as they worked ‘Paradise Carpet was exciting both Garden Carpetatthe Burrell in public view. for National Museums of Scotland Collection – as the starting point for and for Glasgow Museums. It two contemporary textile works with Film-maker Sana Bilgrami made represented a partnership project of people from the Muslim a film Creating Paradise which a new kind, which proved very communities of Edinburgh and followed the involvement of one fruitful in terms of experience of one Glasgow. Project Ability – the group of participants, from Glasgow another’s organisations. The project Glasgow-based visual arts Central Mosque Elderly Day Care also supported the aim of both organisation, with nearly 20 years of Centre. Poet Suhayal Saadi museum services to ensure that experience in developing projects produced new writing in response access to their collections is offered for inclusion – was commissioned to the project. A programme of to as wide and as culturally diverse by the museums to deliver workshops. events to celebrate Paradise Carpet an audience as possible,’ says was held at both venues to mark the Emma Webb, Head of Education, Tradition as inspiration projectand celebrate the display of National Museums of Scotland. the finished textiles. Working alongside artists from Project Ability, participants created A fruitful experience two textile hangings inspired by the museum collection. ‘Paradise The Paradise CarpetProject carpets’ are a traditional Muslim worked through an inter-agency textile concept representing an collaboration that helped attract Islamic vision of heaven, rich in schoolchildren, youth groups, imagery of water, flowers, trees women’s groups and elderly groups and birds. as well as participants from the Glasgow Central Mosque, asylum ‘The groups that created the seekers and refugee units and a Glasgow carpetincluded a group of schools-based Bi-Lingual 20 elderly women from the Glasgow SupportUnit. mosque who enthusiastically 19

‘this was an inter-agency collaboration that helped attract schoolchildren, youth groups, women’s groups and elderly groups as well as participants from the Glasgow Central Mosque, asylum seekers and refugee units’

(1) Working on the textile Photo: National Museums of Scotland and Glasgow Museums (2) The Glasgow Paradise CarpetTextile Hanging Photo: National Museums of Scotland and Glasgow Museums 20

Case study: A Wealth of Vision

Initiated by National Galleries of time,’ reported NGS Outreach Officer rooted the projects in their Scotland (NGS) Helen Watson. ‘The innovative use locales and offered sustainability Outreach project working with of new digital technology was post-project. Lindsay Perth and Janie young people in Galashiels, central, and proved that creative Nicoll worked with IT staff at the Alness, West Fife and Drumchapel projects can indeed develop life training units, equipping them with in Glasgow skills. The National Galleries are creative computer skills that could now using this approach throughout be used after the project. Right Track Scotland.’ has now recognised the valuable ‘I would speak aboutthe projectif inputthatan artistcan bring and I wentfor a job. Itwould be a good The young people worked alongside plan to work with Janie Nicoll on thing on my CV.’ artists, documenting their own future training. Young person views of life in their communities. The projectaimed to develop New experience A Wealth of Vision, developed creative abilities, build confidence by the NGS, was aimed at young and offer transferable skills. ‘Feedback from everyone involved in people (age 16-24), traditionally Participants worked with digital the project has been tremendous, seen as unlikely to visit galleries. photography and the photo editing with the young people in particular This was a pilotoutreach projectto software Photoshop, creating a bank enjoying the whole experience. challenge social, economic, of images reflecting their sometimes For all of them this has been a educational and geographical different, sometimes similar lives. completely new experience in terms barriers to participation in the arts, Supported by the NGS Outreach of their introduction to art and and to develop a consultative way team, four artists collaborated with being able to learn IT skills in an of working. youth support agencies. Of the imaginative and creative way,’ says artists, Janie Nicoll worked with Graeme Dawson, Chief Executive of A lasting impact young people from RightTrack (a RightTrack. training provider) in Drumchapel, ‘A Wealth of Vision had a lasting and Lindsay Perth with the Borders (1) Spaceship. impacton local businesses, training Production Unit in Galashiels. Image: National Galleries of Scotland, Lloyds agencies, artists, youths and TSB, RightTrack Glasgow & Janie Nicoll These partnerships with training communities – brought together in (2) David – WWF. agencies and local businesses Image: National Galleries of Scotland, Lloyds a celebration of creativity for the first TSB, Borders Production Unit and Lindsay Perth Drumchapel Collage Image: National Galleries of Scotland, Lloyds. TSB, RightTrack Glasgow and Janie Nicoll

The cross over between art and people visited its local branch, and ‘creative training proved no problem for met with staff to discuss the project, projects can the groups and the artists were the final exhibition and preview. impressed by the participants’ The preview events enabled indeed develop willingness to take part. None of participants, their friends and the young people had any real families, projectand bank staffto life skills – experience of photography but discuss and view the final works. were keen to record their lives Finally, the artworks went on display the National and their locality, and quickly atthe Lloyds TSB HQ in Edinburgh. Galleries will grasped digital techniques.

now use this Working closely with staff at Lloyds TSB, the NGS Outreach Team invited approach local Lloyds TSB branches to throughout participate by hosting exhibitions. Branch staff helped display the work Scotland’ and evaluate it. Each group of young 22

Case study: Dovetail

Travelling Gallery (based at City Dovetail brought together visual arts Art Centre), Edinburgh and craft practice in an exhibition Touring gallery working with featuring eight artists whose work schools and outreach projects includes materials or techniques more associated with craft (ceramics, basketry, paper, and ‘I have students I now teach at art embroidery) and makers whose college who were inspired to do art work is conceptual rather than from a Travelling Gallery workshop practical. they did when at school!’ Education co-ordinator Touring in the Travelling Gallery from Augustto December 2001 Dovetail Art on the road considered where the line between craftand fine artis drawn, and how The Travelling Gallery – a custom- the boundary between the two areas builtgallery in a bus – provides is becoming increasingly blurred. greater opportunity for communities Showcasing artists and makers from throughout Scotland to experience all over Britain, Dovetail illustrated the quality and diversity of the diversity of contemporary art contemporary artfirsthand. and craftpractices, bringing Travelling in Scotland since 1978, together artists and makers whose the gallery is a national service work bridges the gap between craft operated by the City of Edinburgh and fine art. The craft techniques Council. employed allowed visitors to the gallery to come into contact with The Travelling Gallery presents two contemporary ideas through contemporary art exhibitions a year, traditional techniques. and often commissions new work from artists. An education The gallery visited 93 different programme of events runs in venues during its four-month tour, conjunction with each exhibition, including 24 primary schools, 34 comprising printed exhibition (1) Young Visitor. secondary schools, a special needs guides, talks and artist-led (2) Travelling Gallery. school, two colleges, 13 resource workshops that often involve Photos: Travelling Gallery centres, two leisure centres, four exhibiting artists. An education pack arts centres and 13 other public of artist information, exhibition venues. A total of 10,000 visitors background and projectideas saw the exhibition. 260 people took relating to the show is distributed to partin 20 differentworkshops. schools and community groups at each venue. A full colour bookletis produced and given to visitors free of charge; Braille and large print copies are available in the gallery. 23 ‘visitors are always encouraged to air their opinions and ask questions to help them understand how and why the artists have made the work on show’

Dovetail exhibition installation Photo: Travelling Gallery

Laugh, feel sad, get angry possible in some way, however creative work as well as aesthetics. small, to relate the ideas and Itcan make people laugh, feel sad, Jo Arksey, Travelling Gallery concepts brought up in the getangry. Itcan inform and educate Education Co-ordinator, comments: exhibits with the lives, interests or across all ages and abilities, and ‘Travelling Gallery exhibitions are surroundings of the people who mostof all encourage debate and not curated with any particular visit. So thateven if atfirstthe work discussion. audience in mind. The focus is may seem alien to them, after always on quality and diversity. Staff discussion visitors may feel closer ‘Since we frequently revisit schools, are available to talk both formally to it. Frequently, the techniques or children have the opportunity to see and informally about the exhibitions materials used may be a link to a wide variety of contemporary adapting their talk and references their lives they perhaps hadn’t exhibitions and compare one to each time for each audience. considered. another, giving them a good Likewise, the educational events are overview of contemporary work and flexible and, after consultation with ‘Access to contemporary art means encouraging an interest and growing the group leader, participants and various things to different people. curiosity in art in general. This workshop leader, are adapted to be For many, itsimply gives them an hopefully continues as the children of relevance to the particular group. opportunity to question concepts move through the school. I have they may not have previously studentsI now teach atartcollege ‘Visitors are always encouraged to thought about, through media they who were inspired to do art by a air their opinions and ask questions may have never associated with art Travelling Gallery workshop they did to help them understand how and before. Itmay give them confidence when atschool!’ why the artists have made the work to try new techniques themselves on show. Therefore, itis usually and to explore ideas in their own 24

Case study: Royston Road Project

Managed by The Centre, Glasgow A project based in the Royston Road area of Glasgow

‘One major plus pointis the sense of achievement– yes – we have made a difference! We believe that this should be significant currency when itcomes to building future partnerships.’ Community leader

‘As an artist-in-residence I brought a new way of talking about possibilities, activities and projects to the hostgroup. The hostgroup broughtnew ways of talking about artistic projects to me.’ Artist

‘I believe that “community- based” visual artprojects which fully engage with everyone involved from the outset, and are allowed to develop over time, can be highly

productive’ Artist Paul Carter in the Spire. Photo: Kate Gray 25 ‘one major plus pointis the sense of achievement— yes — we have made a difference!’

The Royston Road Project in Glasgow Artists responding to people He adds: ‘A key partof itssuccess, is a continuing regeneration project and place in my opinion, was the fact that, involving the arts in a process of although a strong structure [host community development. Arts Eightresidencies have now taken organisation/resident artist] was managers, artists and art specialists place with artists Stephen Healy, used, the proposed outcomes of have worked with the board of Jenny Brownrigg, Eddie Ladd, Scott each residency were notarrived at– Royston Road Projects, to deliver Myles, Graham Fagen, Toby Paterson or in many cases noteven touched the five-year initiative. and Paul Carter, and Radio Tuesday. upon – prior to the beginning of The residency initiative was the residency. This meant that Background developed and delivered by Lucy the relationships forged between Byatt, then Director at The Centre, everyone involved began with The Royston Road Project is who supported the artists’ links with everyone conscious of their personal spearheaded by local people who their host organisations, developing ability to have a say in steering the have for many years seen a decline and maintaining relationships. projectfrom the off; to affectthe in amenities, including the loss of essential nature of the project, not community arts, and youth workers. Paul Carter was artist-in-residence justthe details. The catalyst for galvanising local at Royston Youth Action between action was in 1998: the demolition September 2000 and July 2001 ‘This factallowed the group to of the Townhead Church and threat during which time he worked with a experience the project as leaders, to its spire. With bulldozers on site group of young people from Royston notjustas participants. This had a and the body of the church in ruins, Youth Action and created the Signal profound effecton how the groups sculptor George Wylie joined the Hutproject: to use Royston Spire as viewed each other, Royston Youth protesters in the burning of a ‘fiery a radio transceiver to transmit and Action, and specifically Spire Park cross’. ‘This bold intervention receive radio signals to and from in Royston (where the project was helped us to see that artists could space. The group worked together concentrated). Through planning provoke change,’ says Russell on the building of a radio control and developing the project from McLarty, the Project Chairperson. centre, where audio messages were scratch the group learned to discuss collected from residents of Royston and develop ideas, how to realise Artistic intervention and a and transmitted into space on 28 those ideas and approach others as partnership with Fablevision, the July 2001. The Signal Hutprojectwas representatives of the project. arts development company, inspired completed with the installation of the community to set up, and receiving equipmentwithin Royston ‘The positive effects of this manage, their own company – Spire which will emita brightgreen approach were numerous and they Royston Road Projects: dedicated to lightfrom the belfry should any continue. There was a change in arts-led community development. reply be received. perception of the groups’ ability to The firstprojectwas to design and make an impacton othersand on build two parks. New public spaces Paul Carter says: ‘I believe that their environment. One member of at either end of a traditionally ‘community-based’ visual art the group is also now determined to factionalised community were projects which fully engage with attend art school. designed to unite the residents, everyone involved from the outset, encourage pride and provide and are allowed to develop over ‘My experiences as an artist-in- training and employment time, can be highly productive. This residence atthe Royston Youth opportunities. was the case with the Royston Action taughtme notto view people Road Project. living in a particular locality as a single ‘community’, but as a collection of communities full of diversities and complexities.’ 26

What next? Good practice guidance

This section offers guidance for those considering developing a project with a gallery or artist. The following pages include a list of galleries and other bodies in Scotland with a track record in access and education work, and other supportmaterial. Mostof the galleries and other bodies listed have a member of staffwho is responsible for access and education work, and will be a useful source of advice. Some networks such as engage Scotland (see page 29) can offer practical material about planning, agreements etc online or in print, and organise networking and training events which those interested in developing projects can link in to.

Think about what you want… excluded or disadvantaged realising dreams may be expensive groups? and impossible. Butmulti-agency Clear overall aims are essential to • whose projectis this? Is itfor you partnerships may open the doors any gallery education project. These to lead or for a gallery or arts to new funds and opportunities. do notneed to be fully detailed at agency to take on? or will it be the outset, but are important to collaborative, with its direction Artists are good at asking ‘why?’ guide thinking before development shaped by participants? and challenging preconceptions, can really begin. Itmay be helpful • whatfinance is available – or before creatively seeking solutions. to startdeveloping a projectby mightbe? Those delivering a projectmay in discussing plans with a gallery Clear aims are importantnotonly for factchange their routesto agreed education officer to find out what the projectorganisers, butalso for end results many times. Indeed mightbe possible. any partners involved, and for outcomes themselves may be evaluation – ‘did we achieve our reviewed and revised as partof These aims need to include key goals?’ a project, most obviously where points such as: participation from project members • what kind of artistic contact or …but don’t be too fixed in is encouraged. Collaboration activity might be appropriate? and your views with art and artists often means where might this happen – in the embarking on a creative process school, community, or gallery? Working with others – a gallery, that may be much more important • how many people are likely to be an artist, or some other agency – to participants than any practical involved? whatages and what inevitably results in changes to outcome: ‘itwasn’twhatwe did, backgrounds? plans. Indeed this is a particular itwas how we did itthatI’ll • what is the intended end result, in feature of the creative process of remember’. general terms – for instance, developing a projectwith a gallery learning about a specific artist? educator, an artist educator, or (1) Scribble Festival with artist Professor addressing a school curriculum another arts body and can be Timothy Jones, An Tuireann, Isle of Skye. target? promoting access by exciting and empowering. Anything (2) Case Study: Now & Then. is possible! Ideas are free, though Image: The pupils of Barrowfield Primary School and Street Level Photoworks, Glasgow ‘participants can learn first 27 hand aboutpeople working in the creative industries’

The challenges of working with Making your project happen: Being strategic: key points for other agencies: key points for key points for successful project building ongoing involvement with successful collaborations delivery visual arts and crafts

• A sense of joint‘ownership’ of the • Advance planning, including all • Long-term planning and funding, project staff/artists as early on as working with galleries and other • Shared appreciation of partners’ possible partners situations and agendas • Shared commitment to quality • Taking care to manage • Recognition of different staff or experiences and outcomes (eg expectations amongst staff and participants’ attitudes and through In Service Training for participants traditions Teachers) • Building on a consultative • Clear aims and outcomes • Simple projectagreements, approach, with participants and (understood and accepted by all specifying different artists partners) responsibilities • Utilising pupils’ or other • Mutual support by sharing of • Taking nothing for granted eg participants’ interests and networks and knowledge preparatory visits to venues, knowledge locations to check resources, • Good communication channels, layouts with shared evaluation and • Clear delivery timetable, including training relevantadvance marketing and/ • Being sensitive to issues of or consultation of target groups location, family childcare etc for • Creative openness to mutual participants developmentand experimentation • Building bridges with participants • Adequate budget (including by jointeventson-site or in a research, planning etc) community location • Effective reporting procedures for • Including pupils and participants colleagues, management, after the project ends governors, boards etc • Making use of end-results (eg • Appropriate supervision and exhibitions, publications etc, to supportfor frontline staff mark achievements and reach a • Agreed arrangements for ongoing wider audience) News From Nowhere exhibition by artist Robert Orchardson, The Changing Room, Stirling. monitoring and evaluation Photo: Kirsteen Macdonald 28

Gallery education contact details

Aberdeen Museum and Gallery Dundee Contemporary Arts, Dundee National Museums of Scotland David Atherton Sarah Derrick Emma Webb Tel 01224 523652 Tel 01382 909900 Tel 0131 225 7534 [email protected] [email protected] [email protected] An Lanntair, Stornoway Falkirk Museums, Falkirk North Lanarkshire Museum Service, Elsie Mitchell Mhairi Currie Coatbridge Tel 01851 703 307 Tel 01324 503770 Kate Dargie [email protected] [email protected] Tel 01236 431261 An Tuireann Arts Centre, Portree Fruitmarket Gallery, Edinburgh [email protected] Katherine MacLeod Tracey Morgan Paisley Museum and Art Galleries, Tel 01478 613306 Tel 0131 225 2383 Paisley [email protected] [email protected] Catherine Harbon Artlink, Edinburgh and the Lothians Fusion (Function Suite), Artlink, Tel 0141 8893151 Jan Bertvan den Berg Edinburgh [email protected] Tel 0131 229 3555 Anne Elliot Peacock Visual Arts, Aberdeen [email protected] Tel 0131 537 6128 Susan Grant Buccleuch Heritage Trust, Selkirk [email protected] Tel 01224 639539 Helen Currie Gallery of Modern Art, Glasgow [email protected] Tel 01750 22204 Museums, Glasgow Project Ability, Glasgow [email protected] Victoria Hollows Elisabeth Gibson CCA, Glasgow Tel 0141 229 1996 Tel 0141 552 2822 JanetHealy [email protected] [email protected] Tel 0141 332 7521 Gallery School of Art Exhibitions Society of Scottish Artists, Edinburgh [email protected] Department, Glasgow Susan Cornish The Centre, Glasgow Kathy Chambers Tel 0131 557 2354 Jenny Crowe Tel 0141 353 4525 South Lanarkshire Council, Hamilton Tel 0141 222 2838 [email protected] Brian McGeoch [email protected] Gracefield Arts Centre, Dumfries Tel 01698 429634 The Changing Room, Stirling Clare Hanna [email protected] Kirsteen Macdonald Tel 01387 262084 Stills Gallery, Edinburgh Tel 01786 479361 [email protected] Clare Anderson [email protected] Hunterian Museum and Art Gallery, Tel 0131 622 6200 City Art Centre, Edinburgh Glasgow [email protected] MargaretFindlay Monica Callaghan Street Level Photoworks, Glasgow Tel 0131 529 3963 Tel 0141 330 2838 Malcolm Dickson [email protected] [email protected] Tel 0141 552 2151 Collective Gallery, Edinburgh The Lighthouse, Glasgow [email protected] Sarah Munro Lesley Riddell Taigh Chearsabhagh, North Uist Tel 0131 2201260 Tel 0141 221 6362 Joan Robertson [email protected] [email protected] Tel 01876 500240 Collins Gallery, Glasgow McManus Galleries, Dundee [email protected] Laura Hamilton Norrie Colston Talbot Rice Gallery, Edinburgh Tel 0141 553 4145 Tel 01382 432040 PatFisher [email protected] [email protected] Tel 0131 650 2210 Crawford Arts Centre, St Andrews Museum of Scottish Lighthouses, [email protected] Diana A Sykes Fraserburgh The Travelling Gallery, Edinburgh Tel 01334 474610 David Bett Jo Arksey [email protected] Tel 01346 511022 Tel 0131 529 3949 online.co.uk [email protected] [email protected] Deveron Arts, Huntly National Galleries of Scotland, University of Dundee Exhibitions Claudia Zeiske Edinburgh Department, Dundee Tel 01466 792734 Maureen Finn Jenny Brownrigg [email protected] Tel 0131 624 6410 Tel 01382 345330 [email protected] Duff House Gallery, Banff [email protected] Charles Burnett Tel 01261 818181 charles.burnett@aberdeenshire.gov.uk 29

Other support

Scottish Arts Council education projects in its professional over 320 museums. SMC combines The Scottish Arts Council works to developmentsection. The Scotland strategic leadership for the sector with develop the arts in Scotland. Our aims Co-ordinator can offer advice on provision of professional information, are to: accessing the engage network. advisory and supportservices to • celebrate artists and artistic members. The Learning and Access excellence engage Scotland team at SMC work specifically on issues • improve the quality of life for all Email [email protected] relating to education. through the arts • provide leadership in the arts for engage Head Office Becky Milner Scotland. Basement, 108 Old Brompton Road Learning and Access Advisor London SW7 3RA Scottish Museums Council The Visual Arts and Crafts Tel 020 7244 0110 20-22 Torphichen Street departments provide direct support to Fax 020 7373 7223 Edinburgh EH3 8JB artists and makers, and also support Email [email protected] Tel 0131 476 8591 arts organisations across Scotland to: Website www.engage.org Email [email protected] presentwork, provide access to Website www.scottishmuseums.org.uk facilities, and run educational Learning and Teaching Scotland programmes for their audiences. The Learning and Teaching Scotland is a Visual Arts Department funds engage national public body sponsored by Scotland to provide professional the Scottish Executive Education support for those working in this field. Department. LT Scotland’s remit is to provide advice, support, resources and The Education Department supports a staff development, which enhance the range of initiatives including specialist quality of educational experiences in posts in local authorities. It is Scotland with a view to improving currently working with an Education attainmentand achievementfor all and Forum to develop an Education Policy promoting lifelong learning. It combines for the Scottish Arts Council. expertise on the school and pre-school curriculum and on the use of The Help Desk provides information on information and communications the work of the Scottish Arts Council, its technology (ICT) in education and funds, and publications. lifelong learning. LT Scotland is actively involved in software and internet Scottish Arts Council developmentand multimedia 12 Manor Place production of educational resources. Edinburgh EH3 7DD Tel 0131 226 6051 Learning and Teaching Scotland Fax 0131 225 9833 74 Victoria Crescent Road Help Desk 0845 603 6000 Glasgow G12 9JN E-mail [email protected] Tel 0141 337 5000 Website www.scottisharts.org.uk Fax 0141 337 5050 engage Gardyne Road engage is the lead professional body Dundee DD5 1NY for gallery staff, artists, teachers, and Tel 01382 443600 freelance educators involved in gallery Fax 01382 443645 education and access programmes. Email [email protected] engage Scotland holds informal Website www.LTScotland.com training events including an annual res- idential seminar, provides information services, and develops Scottish Museums Council action-research projects. engage The Scottish Museums Council (SMC) is centrally publishes a magazine the membership organisation for local and newsletter, and is developing museums and galleries in Scotland. professional development Their aim is to improve museum and programmes. The engage website gallery provision in Scotland for both has sample agreements and back-up local people and visitors. They have information for developing gallery over 200 members who in turn manage 30

Case study details

Ban-za-Ban Bangour Village Hospital, West Menzieshill High School with Dot Sim An Lanntair, Stornoway, Isle of Lewis Lothian; St John’s Hospital, (jeweller); October 2001 – June 2002 Livingston; and Western General Visiting Japan: Glebelands Primary P7 Co-ordinated by Elsie Mitchell, Visual Hospital, Edinburgh. with Campbell Sandilands Arts Education Officer. (calligrapher, banner-maker and The artists involved in commissions Artists Susie Hunter and Iain Kettles print-maker); were Stephen Skrynka (Urology worked with the under-five children Australia in the Garden: St Saviour’s Department, Western General); Zoë of Cròileagan Uig, Cròileagan High School S5/S6 with Michelle Bills Walker (Plastic Surgery Department, Bhearnaraigh, Roinn Leodhais and (ceramicist); StJohn’s, Livingston) and Rachel Uig School. Hanging Patterns from Nature: Mimiec (Cardiology Department); Janie Douglas Primary P7 with Mary Ann Ban-za-Ban was partof a programme Nicoll (Neo-natal Unit); Anne Morrison Chatterton (printed textiles). of inflatable sculpture workshops also (Haematology); Catriona Grant (the involving artists Rachel James and Sleep Centre); and Michelle Lazenby The expenditure to date has been Lucy Hubbard working with children (Eye Pavilion) all atthe Royal Infirmary £24,000 including £11,000 in kind aged 5-16. Organisations involved of Edinburgh. The commissions were staffing costs. were: Bernera Community Centre managed by Stephen Hurrell. Funded by the Scottish Arts Council, Association, Uig Community Centre DCA Community and Education The total budget including Association, Iomairt aig an Oir, Uig Programme and Dundee City Council collaborations, commissions and Youth Group, Bernera Youth Club, Uig Education Department. exhibition was £250,000. Funded ArtAttack, Bernera 5-11s Club, Bernera through Scottish Arts Council project www.dca.org.uk School and CNES Community and lottery funding, and NHS Education Department. Lothians. The project partner was the Now & Then The project– involving public arts Lothian Hospital Arts Consortium. Street Level Photoworks, Glasgow commission, education programme www.fusion-artlink.co.uk May – July 2000 and exhibition – had a budget of The projectwas managed by Iseult £17,800. Big Hand, Little Hand Timmermans, Education Co-ordinator, Funded through Scottish Arts Council Street Level Photoworks, supported lottery funding, Western Isles Dundee Contemporary Arts (DCA), Dundee by Malcolm Dickson, Director. Enterprise and Social Inclusion Digital media and design by Robert Partnership funds. July 2001 – ongoing (eightresidencies to date) King. www.lanntair.com/outreach/ The ProjectManagementTeam: Sarah Artists involved in the project were: Derrick, Head of Education, DCA; Kenny Bean, Virginia Brunnert, Fusion Janice Aitken, Education Co-ordinator, Meredith Crone, Claudine Hartzel, Artlink, Edinburgh and the Lothians DCA; Moira Foster, Learning Resources Anne-Louise Kieran, Andrew September 1999 – March 2002 Co-ordinator, Dundee Education McDermid, Rachel Mimiec, Iseult Co-ordinated by Kirsty Lorenz, Department and Julia Hallewell, Craft Timmermans, Karen Vaughan, Hospital Arts Co-ordinator (to June Shop Manager, DCA. Doug Whitaker. 2001) and Anne Elliot, Artist Team Leader and Kate Gray, artist, The school residencies have involved Schools involved in the project were: supported by Jan Bert van den Berg, the following craft makers and Ashcraig Secondary, Barrowfield Artlink Director, and Alison Stirling, schools: Primary, Gadburn Primary, Gartnavel Royal Hospital School, Kelvinhaugh Artlink Projects Director. Exhibition Glass Mosaic Windows – WhatWe Do curated by Trevor Cromie. Primary, StBridget’sPrimary, St Through School : StLuke’s and St Stephen’s Primary, St Thomas Matthew’s P6 and P7 with Liz Rowley Aquinas Secondary, StTimothy’s The collaborating artists were Paul (stained glass maker); Primary and Toryglen Primary. Barham (architect), Anne Elliot, Keith Broughty Ferry In Felt: Barnhill Primary Farquhar, Valerie Gillies (writer), Kate P7 with Liza Green (felt-maker). The budgetwas £14,000. Gray, Diana Hendry (writer), Karen Nature, Industry and Built Funded through the Scottish Arts Loughridge, Christina McBride, Billy EnvironmentDundee: Longhaugh Council lottery fund, Glasgow City McCall, Michelle Naismith. Other art Primary P6B with Geoff Roberts Council and the Lord Provost’s specialists and consultants were (jeweller); Millennium Fund. also involved. ‘PlanetPaper’ Enterprise Project: www.sl-photoworks.demon.co.uk Clepington Primary P6 & P7 with Karin The artists worked with patients in Mühlert(paper maker and paper over 30 departments and units in four 3D craft); NHS Trusts: Royal Edinburgh Hospital; Kick Starting Higher Students...: 31

Paradise Carpet supported by NGS Education Deans Community High School, National Museums of Scotland and Department. Livingston; St Kentigern’s RC Academy, Glasgow Museums The projectinvolved the following Blackburn; Earlston High School; New ProjectAbility artists and participating groups: Horizons Mental Health Group, Hawick; May – July 2002 the Borders Production Unit, StMargaret’sRC Academy, Livingston; Galashiels worked with the artist Woodhead Primary, Hamilton; St The projectmanagementteam was Lindsay Perth and the resulting work Joseph’s Primary School, Blantyre; made up of Hannah Ayre, Linda Greer, was shown atthe Galashiels branch RobertOwen Memorial Primary School, Calum Price, Kiran Sirah, Heather of Lloyds TSB Scotland; Lanark; Columba High School, Stewart, Emma Webb from the Right Track, Glasgow worked with the Coatbridge; Mallaig High School; Tigh National Museums of Scotland, and artist Janie Nicoll and the resulting na Drochaid Resource Centre, Portree, Morag Macpherson from Glasgow work was shown atthe Anniesland Isle of Skye and Knockbreck Primary, Museums. branch; Isle of Skye. Elizabeth Gibson, Artistic Director of the group ‘Motiv8’, initiated by Fife Dovetail had an education and ProjectAbilityco-ordinated project Council Community Services worked exhibition budget of £9,235. The delivery with lead artist Sandi with the artist Catriona Grant, and Travelling Gallery is funded through Kiehlmann and artists Trish Miller, Robin Baillie and Helen Watson, and Scottish Arts Council and the City of Paula Ramdhan, Alison Stanley and the resulting work was shown at the Edinburgh Council. Tonia Todd. Elizabeth Guest was Dunfermline branch; a group of young www.cac.org.uk/venues/travel.htm original conceptcreator. mothers supported by the Highland Participating groups: Central Mosque Council, the EFF, Pathways to Inclusion, Elderly Day Care Centre, Glasgow Inverness College and the Calman Trust Royston Road Project Asylum Seekers Unit, Shawlands worked with the artist Mark Johnston The Centre, Glasgow Primary School, Glasgow; the Beacon, and the resulting work was shown at 2000 – 2003 Cranhill Children’s Centre; Bi-lingual the Inverness branch. Royston Road Project was a Children’s Unit, Shawlands Academy, The projectbudgetwas £21,000. collaboration involving the Glasgow; Bi-lingual SupportUnit, Funding was through Lloyds TSB communities of the Royston Road Shawlands Academy; Bruntsfield Scotland, Arts & Business, Right Track area and Community Arts Consultant Primary School, Edinburgh; Darnley Glasgow, Borders Production Unit, the Liz Gardiner of Fablevision. The Street Family Centre, Glasgow; Dosti Highland Council, Pathways to residencies were established by the Muslim Groups, Edinburgh; Govan Inclusion, Inverness College, the Centre: Lucy Byatt, assisted by Jenny Girls’ Group, Glasgow; James Calman Trust, ESF and Fife Council Crowe. The commissioned artists were Gillespie’s Primary School, Community Services. Jenny Brownrigg, Paul Carter, Graham Edinburgh; Lorne Street Community www.nationalgalleries.org Fagen, Steven Healy, Eddie Ladd, Scott Centre; Meridian Women’s Group; Myles, Toby Paterson and Radio MILAN Elderley Day Care Group, Tuesday. Many other art specialists, Dovetail Edinburgh; Leith Academy, community leaders, groups and local The Travelling Gallery, based atCity Edinburgh; Pfefferbank Day Centre, councillors were involved in the ArtCentre, Edinburgh Edinburgh; Sciennes Primary School, project. August– December 2001 Edinburgh and the Scottish Refugee Participating groups included people Council. The exhibition and project were from Royston Youth Action, Molendinar The projectbudgetwas £27,650. developed and managed by the Community Council Groups, Funded through Scottish Arts Council; Travelling Gallery team: Alison Molendinar Drug Services and Royston Glasgow Museums (Culture and Chisholm, Co-ordinator; Grace Library. Projectpartnerson the project Leisure Services); the Cram Trust, the Whowell, Assistant; and Jo Arksey, were the Centre, Fablevision, LOCI Gordon Fraser Charitable Trust and the Education Design, the Wise Group and David Russell Trust. Co-ordinator. Neilson Partnership. www.nms.ac.uk Jo Arksey and a team of artists The whole projecthas a budgetof £1.7 www.project-ability.co.uk including Barbara Beyer and Jenny million; Paul Carter’s residency had a Smith developed and delivered £9,000 budget. workshops to the following schools Funded by Strathclyde European A Wealth of Vision and groups: Partnership, Scottish Arts Council National Galleries of Scotland (NGS), Forres Community Centre; Macduff lottery funding, National Lottery Edinburgh Arts Centre; Sacred Heart Primary, Charities Board, European Social Fund, June 2002 – February 2003 Penicuik;Stobhill Primary, Gorebridge; Glasgow City Council and the Esmée The projectwas co-ordinated by Gairloch High School; Reachout Fairbairn Foundation. Helen Watson, Outreach Officer and Resource Centre, Alloa; Arran High www.roystonroadproject.org Robin Baillie, Senior Outreach Officer School; MillportPrimary School; 32