权益分类	功能权益	普通用户	{{item.name}}会员
{{category.name}}	{{benefitItem.name}}

Understanding audiences for the contemporary arts

了解当代艺术的观众

基本信息

批准号：
AH/P00590X/1
负责人：
Stephanie Pitts
金额：
$ 43.68万
依托单位：
University of Sheffield
依托单位国家：
英国
项目类别：
Research Grant
财政年份：
2017
资助国家：
英国
起止时间：
2017 至无数据
项目状态：
已结题

来源：
https://gtr.ukri.org/projects?ref=AH%2FP00590X%2F1
关键词：
Understanding audiences contemporary arts

项目摘要

Contemporary arts - provisionally defined at the outset of this project as those arts events and practices that are newly created and in some way innovative or challenging - attract interestingly opposing audience responses: at the extremes, enthusiasts will focus their arts engagement primarily on seeking out 'the contemporary' (Gross & Pitts 2015), while established audiences for 'mainstream' or traditional arts will distrust the programming of new works, tolerating them at best or otherwise staying away (Pitts 2005). For arts organisations of all varieties this is a marketing and communication challenge; and for academics interested in the role of arts engagement in people's lives, attitudes towards contemporary arts offer interesting insight on cultural value and the place of creativity, challenge and comfort in experiences of the arts.Our investigation of these two extremes of audience response - those who engage with the contemporary arts and those who choose not to - was prompted by Birmingham Contemporary Music Group (BCMG), our lead partner in this project, with whom we have carried out a pilot study to lay the groundwork for this deliberately ambitious, national, cross-art form investigation. BCMG were interested in the scope for 'crossover' between art forms: whether regular attenders at a contemporary art gallery would also be potential audience members for a BCMG concert, or for experimental theatre, or a pop up gallery in a disused warehouse, and the extent to which those different groups of practitioners and audience members were aware of each other's work. These practically-focused initial questions led to the formation of a Birmingham Contemporary Arts Network (still meeting a year after our research project), generating a substantial qualitative investigation with 56 audience members from five key organisations, and a series of 'audience exchange' visits in which audience members experienced events outside their usual patterns of attendance. These methods generated a depth of research enquiry around the nature of 'the contemporary, the place of arts in everyday life, their contribution to personal and civic identity, and the notion of 'cultural citizenship', which captures the sense of civically engaged involvement that characterised our Birmingham participants (Gross & Pitts 2015; 2016). For the 30 month, national version of this project, we will extend our enquiries by establishing contemporary arts networks in three additional cities (Bristol, Liverpool and London), chosen for their distinctive geographies, demographics and contemporary arts scenes. We will work with internationally recognised lead partners whose practices encompass a diversity of art forms, and build networks of practitioner and audience exchange to facilitate empirical investigations and cross-arts comparisons on a scale not previously seen in audience research. A phase of longitudinal action research, first in Birmingham, and then in our three new partner cities, will use our findings to generate and test new approaches to audience development and experience, so ensuring immediate and lasting impact from the research. Alongside this, enquiries with 'mainstream' arts audiences in Sheffield will explore resistance to the contemporary arts, so providing a more critical perspective on the debate. The substantial empirical knowledge resulting from the project will shed new light on interdisciplinary critiques of arts engagement in the 21st century (Heim 2016; Freshwater 2009), and build on the very small number of studies currently providing insight on audience experience in the contemporary arts (Sifakakis 2007; Van Dyke 2010; Hanquinet 2013). We aim to understand 'audiences for the contemporary arts' with a depth that speaks to academics across sociology and psychology of arts, cultural studies and specific arts disciplines, as well as practitioners and policy makers in all related fields.

当代艺术-在本项目开始时被暂时定义为那些新创造的、在某种程度上具有创新性或挑战性的艺术活动和实践-吸引了有趣的对立观众反应：在极端情况下，爱好者将把他们的艺术活动主要集中在寻找“当代”（Gross & Pitts 2015），而“主流”或传统艺术的既定观众将不信任新作品的节目，最多容忍他们或远离他们（Pitts 2005）。对于各种艺术组织来说，这是一个营销和沟通方面的挑战;对于那些对艺术在人们生活中的作用感兴趣的学者来说，对当代艺术的态度提供了关于文化价值和创造力的有趣见解，挑战和舒适的艺术体验。我们对这两种极端的观众反应的调查-那些谁从事当代艺术和那些谁选择不-是由伯明翰当代音乐集团（BCMG），我们在这个项目的主要合作伙伴，我们已经进行了一项试点研究，为这个故意雄心勃勃，国家，跨艺术形式的调查BCMG对艺术形式之间的“交叉”范围感兴趣：当代艺术画廊的常客是否也是BCMG音乐会的潜在观众，或者实验剧院，或者废弃仓库中的弹出式画廊，以及这些不同群体的从业者和观众对彼此工作的了解程度。这些以实践为重点的初始问题促成了伯明翰当代艺术网络的形成（在我们的研究项目一年后仍在开会），对来自五个主要组织的56名观众进行了大量定性调查，并进行了一系列“观众交流”访问，其中观众成员经历了他们通常出席模式之外的活动。这些方法围绕“当代艺术的本质，艺术在日常生活中的地位，他们对个人和公民身份的贡献，以及“文化公民”的概念，产生了深入的研究调查，它抓住了我们伯明翰参与者的公民参与感（Gross & Pitts 2015; 2016）。在这个为期30个月的全国性项目中，我们将通过在另外三个城市（布里斯托、利物浦和伦敦）建立当代艺术网络来扩大我们的调查范围，这些城市是根据其独特的地理、人口和当代艺术场景而选择的。我们将与国际公认的主要合作伙伴合作，其实践涵盖了多种艺术形式，并建立从业者和观众交流网络，以促进经验调查和跨艺术比较，其规模在观众研究中前所未有。一个阶段的纵向行动研究，首先在伯明翰，然后在我们的三个新的合作伙伴城市，将使用我们的研究结果来产生和测试新的方法，以观众的发展和经验，从而确保从研究的直接和持久的影响。除此之外，与谢菲尔德的“主流”艺术观众的询问将探讨对当代艺术的抵制，从而为辩论提供更具批判性的视角。该项目产生的大量经验知识将为21世纪世纪艺术参与的跨学科批评提供新的视角（Heim 2016; Freshwater 2009），并建立在目前提供当代艺术观众体验的极少数研究的基础上（Sifakakis 2007;货车Dyke 2010; Hanquinet 2013）。我们的目标是了解“当代艺术的观众”，深入地与社会学和艺术心理学，文化研究和特定艺术学科的学者以及所有相关领域的从业者和政策制定者交谈。