Cards annotated with participants’ handwriting, completed in the interactive phase of the Glass House exhibition/experience/event
Reviewing the impact and value of the September 2021 Glass House exhibition as an examination of art and policy and a case study of practice-based research
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The cover art of Ursula La Guin’s The Left Hand of Darkness by Alex Ebel. La Guin’s 1969 book is cited by a Heather Barnett, a research participant, as influential on issues relating to gender fluidity on a decadal timescale. Image credit: Alex Ebel/the Avocado
Artists and funders often ask how artwork can have a policy impact. This article sets out thoughts with reference to three scientific concepts: lability, transference and activation energy.
Read MoreThis article, the fourth in a series on the role of art in policymaking, situates real life artworks in a theoretical art-policy matrix. It starts by describing two case studies - Blue Planet II and The Museum of Extraordinary Objects - in more detail, before outlining nineteen other artworks, all which, in some way, link to policy.
Read MoreThis blog looks at how policies are made and what role art may play in that process, if any. It proposes an art-policy matrix, matching some of the effects of art to stages in the policy process.
Read MoreWhy would it even matter if art or culture had a role in policy? As a policymaker of 15 years experience (as well as being a practising visual artist), I acknowledge that this is something I take for granted. This blog attempts to dig a little deeper, and consider: what ‘policy’ actually is, the relationship between art/culture and policy; whether policy actually matters.
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