At Home with Art: Colin Painter (1999/2000)

Nine leading British sculptors created objects designed for mass production for display or use in the home sold in Homebase. In association with Tate and Homebase.

See also: Painter, Colin. At Home with Art:. London: Hayward Gallery, 1999.


Painting by Numbers: Komar & Melamid’s Scientific Guide to Art (1999)

Komar and Melamid’s interpretation of the “most wanted” and “most unwanted” paintings of fourteen countries titled “The People’s Choice”, organized and curated by ICI – Independent Curators International, touring to museums from September 1998 to December 2000.

How does “The People’s Choice” relate to the art people want for their homes in Swale?


Close Encounters of the Art Kind: Colin Painter (2002)

Six works made by six sculptors circulated around six households in NW1. “The householders lived with each for a month, siting them as they wished in relation to their own possessions”. The process was documented and  the resulting exhibition at the V&A presented “the six sculptures, with photographs of them in their temporary homes, along with the thoughts of both artists and householders about their meanings as told to me during the project”.

What would happen if (beyond being consumers) households become commissioners/co-producers? How can dematerialised art practices exist in the home?

See also: Painter, Colin. Contemporary Art and the Home. Oxford: Berg, 2002.


Corentine’s Turtle: Harrell Fletcher (2006)

A project with users of a sculpture park in Brittany, which resulted in artist Harrell Fletcher working with an eight year old boy, Corentine Senechal,  to realise the boy’s proposal for a turtle sculpture.


The Human Library (2000 – ongoing)

“A mobile library set up as a space for dialogue and interaction. Visitors to a Human Library are given the opportunity to speak informally with “people on loan”; this latter group being extremely varied in age, sex and cultural background”. Conceived of as an “innovative method designed to promote dialogue, reduce prejudices and encourage understanding”.

Can putting artists and audiences in direct contact “promote dialogue, reduce prejudices and encourage understanding?” How might a human interface to art production/consumption change the way artists and audiences think about eachother (and the work that’s made)? What kind of trust is required for households to let an unknown artist in to their homes?


The Art Lending Library: Walker & Bromich (2012)

An installation, curated by Michelle Emery-Barker (Market Gallery, Glasgow) which enabled the public to borrow artworks on a temporary basis to install in their homes over the course of Glasgow International 2012.

How do you get people who aren’t already engaged to engage?



Art in the home: Contemporary Art Society North (2013)

“Commercial galleries Arcade (London) and WORKS|PROJECTS (Bristol) staged bespoke exhibitions in the homes of Contemporary Art Society members […] Guests were taken from one home to the next on a day-long trail with lunch provided on route”.

What relevance do projects like this have outside “arty” circles?–-art-in-the-home/


Great Art in Ugly Rooms

Artist Paul Kremer’s blog of digitally manipulated images testing out how different artworks look in different settings. He writes:”We all know what great art looks like in museums. But what does it look like in non museums?” Some of the images are from anonymous donors some he’s made himself.


Democracy Has Bad Taste: Grayson Perry (15 October 2013)

Grayson Perry’s first Reith lecture which discusses taste and the validation of quality in contemporary art including the relationship between the custodians of the art world and the general public.


Arts Council Quiz on Audience Engagement: “What segment am I?”

The Arts Council Segmentation tool:  6 questions to determine whether you’re “highly engaged” (urban arts eclectic or traditional culture vultures) “somewhat engaged” (fun, fashion and friends, mature explorersdinner and a show, family and community focused, bedroom DJsmid-life hobbyists or retired arts and crafts or “not currently engaged” (time-poor dreamersa quiet pint with the matcholder and home-bound or limited means, nothing fancy.

Can engagement really be reduced to 13 categories? What insights can an in depth case study provide?


Houses as Museums/Museums as Houses (2014)

2014’s MGHG Conference, taking place at the Wallace Collection, is on the theme of musuems and domestic spaces.

Museums were born in the houses of wealthy collectors, but what relationship do those with limited financial means have to these processes? What happens when public finance is used to support the collection of art in individual  homes? Can commissioning/collecting be democratised and how does this relate to the art market?


Taste & the Home – Chelsea College of Art (16 May 2014)

A session as part of TASTE AFTER BOURDIEU, a conference exploring the current relationship between aesthetic judgement and social distinction. This international panel of Prof Ben Highmore, Prof Susan Kaiser, Dr Michel McMillan and  Prof Carol Tulloch, will consider taste and the everyday in private and public spaces.


Participation & Engagement in the Arts: Leeds Metropolitan University

A Knowledge Exchange Network exploring key issues in participation and engagement in the arts.


Culture in Action (1993)

A project in Chicago providing “forums for culture in otherwise undeserved communities by generating culture from within the communities themselves”.

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