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- Art, Critical Pedagogy, Systems Thinking, Public Art, Systems Theory, Ecological Design, and 26 moreParticipatory Pedagogies, Art in Public Places, Timothy Morton, Jack Burnham, The Dark Mountain Project, Helen Mayer Harrison and Newton Harrison, Leadership, Leadership Development, Art Practice as Research, Change Leadership, Art and technology, Media Art, Sound Art, Art in Public Spaces, Custom Electronics, Jane Jacobs, Nonprofit Leadership, Environmental Art, Art And Ecology, Leadership for Social Justice, Transformative Educational Leadership, Culturally Responsive Leadership, Environmental Art Writing, Economics, Urban Design, and Gary Snyderedit
- Chris Fremantle is a researcher and producer. He is a Senior Research Fellow at Gray's School of Art, Robert Gordon ... moreChris Fremantle is a researcher and producer. He is a Senior Research Fellow at Gray's School of Art, Robert Gordon University and has associated with On The Edge Research at Gray's School of Art for fifteen years.
Fremantle worked as Research Associate on the research strand of The Artist as Leader, a collaboration between On The Edge, PAL labs (http://www.pallabs.org/) and Cultural Enterprise Office (http://www.culturalenterpriseoffice.co.uk/).
He was also on the steering group for the Working in Public Seminars (http://www.workinginpublicseminars.org/) and co-edited elements of the website.
He was Honorary Senior Research Fellow by Duncan of Jordanstone, University of Dundee 2010-13.
Fremantle established ecoartscotland (http://ecoartscotland.net/) as a platform for research and practice. Highlighting practices, providing a bibliography and journal, and acting as a vehicle for projects, ecoartscotland.net also represents information from a wide range of sources for a Scottish audience.
He practices writing on his website (http://chris.fremantle.org/).
Fremantle works as a freelance producer and project manager and his recent work has included working with Ginkgo Projects (http://www.ginkgoprojects.co.uk/) developing and delivering Working Well: People and Spaces, a therapeutic design and arts strategy for the NHS Greater Glasgow and Clyde's (NHSGGC) New South Glasgow Hospitals. He project managed the art strategies for NHSGGC's New Stobhill and Victoria Hospitals working with artist teams led by Thomas A Clark (http://thomasaclarkblog.blogspot.com/) and Ally Wallace (http://www.allywallace.net/) respectively. The New Stobhill Hospital, designed by Reiach & Hall Architects (http://www.reiachandhall.co.uk/), has won numerous awards including the Prime Minister’s Better Public Building Award 2010, Building Better Healthcare Awards Best Designed Hospital 2009, and Grand Prix Roses Design Awards Best Public Building 2009 Gold.
Fremantle has worked on a number of artist-led projects including Helen Mayer Harrison, Newton Harrison (http://theharrisonstudio.net/) and David Haley's Greenhouse Britain: Losing Ground, Gaining Wisdom (http://greenhousebritain.greenmuseum.org/). He has been working with PLATFORM (http://www.platformlondon.org/) on Remember Saro-Wiwa (http://remembersarowiwa.com/), with responsibility for fundraising. He developed and managed the ten year 'landscape as art' project Place of Origin (http://www.publicartscotland.com/reflections/34), by artists John Maine, Brad Goldberg and Glen Onwin. Place of Origin won a Saltire Award in 2007. He established the Cairngorm Landscape Art Project currently being undertaken by Arthur Watson.
Fremantle is a member of the Executive of the Scottish Artists Union (http://www.sau.org.uk/). He helped establish and contributes to the programme of the Ayrshire Arts Network (http://www.ayrshirearts.com/) and is on the board of the Ayr Gaiety Partnership (http://www.ayrgaiety.co.uk/).
He was formerly Director of Scottish Sculpture Workshop (http://www.ssw.org.uk/), and Links Officer with South Ayrshire Council.
He has a Masters in Cultural History and an Undergraduate Degree in English and Philosophy.
Personal Statement
"We really need to move beyond nouns, thinking of buildings and developments as discrete entities, art as a commodity rather than as service to communities and ecosystems. Mix, interconnect, hybridize, challenge, delight and engage wherever we can, with tons of compassion, diversity and experimentation." Sam Bower, Greenmuseum.org
Fremantle's research interests focus on the complexity of creative practices engaged with a range of interlinked contexts (ecology, health, activism, cultural history, inhabitation, etc.). Underlying these pragmatics is an investigation of systems aesthetics: seeking to understand practices in art that are also interwoven into wider social and environmental programmes and projects.edit
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This article provides a comparison of design support landscape of three countries: the UK, Estonia and Turkey. The economic and political development patterns and experience of design support within these countries lead to different... more
This article provides a comparison of design support landscape of three countries: the UK, Estonia and Turkey. The economic and political development patterns and experience of design support within these countries lead to different models of design support. The differences are visible in the levels of support, aims of innovation, available resources and opportunities but also priorities. The way in which these projects/programmes are initiated, operate and sustain themselves vary as well. The article aims to understand the future of design support through looking at the versatile programmes in these countries. It provides a historical background of design support by building on specific programmes in these countries. Based on the knowledge drawn from comparison of histories of support, the paper not only makes suggestions for the development of future of design support models.
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There is increasing recognition of the need to treat not only patients but also families and carers with dignity, particularly at times of stress. New hospital design includes rooms variously labelled 'Quiet', 'Family' or 'Interview' for... more
There is increasing recognition of the need to treat not only patients but also families and carers with dignity, particularly at times of stress. New hospital design includes rooms variously labelled 'Quiet', 'Family' or 'Interview' for these purposes. This paper reports on the design process used during the development of the New South Glasgow Hospitals to meet user and service owner needs. The artist leading the project utilised a biophilic design approach and a participatory process of working to both understand users' issues and also to involve users in the design of elements of the scheme.
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We increasingly find co-creativity and participation as central aspects of practices across art and design (including architecture). The politics of social justice and equality continue to underlie and inspire these practices. The... more
We increasingly find co-creativity and participation as central aspects of practices across art and design (including architecture). The politics of social justice and equality continue to underlie and inspire these practices. The discourse on web 2.0 addresses co-creativity and participation, but from quite different perspectives. One of the key aspects of these discourses is the extent to which they recognise context as a critical factor. The other critical factor is the understanding of equality, not in terms of a general social aspiration, but rather as a function within a creative practice. We believe that practices can offer distinctive understandings to debates on social justice and equality. Practitioners seeking social justice and equality describe the importance of involving participants and co-creators, not through evenness of participation, but rather through discernment opening out to larger audiences.
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The paper will draw on a key case study, GROVE, the art and architecture strategy recently completed in NHS Greater Glasgow & Clyde’s multi-award winning New Stobhill Hospital. GROVE was developed by poet and artist Thomas A Clark and... more
The paper will draw on a key case study, GROVE, the art and architecture strategy recently completed in NHS Greater Glasgow & Clyde’s multi-award winning New Stobhill Hospital. GROVE was developed by poet and artist Thomas A Clark and Andy Law, architect, Reiach & Hall, Edinburgh. In GROVE Clark and Law focused on the experience of 'waiting' in hospital. Their aim was to make waiting a reflective experience and to counteract the anxiety associated with hospitals.
Clark and Law argue that the New Stobhill Hospital is a single work of art, and this is demonstrated by the 'composing' of spaces within the unifying theme of 'A grove of birch in a forest of larch'. The artworks within the architecture that make up GROVE all represent or relate to nature, including short poems installed on walls and windows by Clark, as well as visual artworks (paintings, installations, video) by collaborating artists. For example, across the outpatient clinic waiting areas a poem, a series of videos and installations contribute elements within the architecture to create a sequence of distinctive spaces.
Clark and Law argue that the New Stobhill Hospital is a single work of art, and this is demonstrated by the 'composing' of spaces within the unifying theme of 'A grove of birch in a forest of larch'. The artworks within the architecture that make up GROVE all represent or relate to nature, including short poems installed on walls and windows by Clark, as well as visual artworks (paintings, installations, video) by collaborating artists. For example, across the outpatient clinic waiting areas a poem, a series of videos and installations contribute elements within the architecture to create a sequence of distinctive spaces.
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Jane Jacobs in the Nature of Economies (2000) argues that economies have the same dynamics as ecological systems. Jacobs develops concepts including development, co-development, expansion, feedback loops, bifurcations and emergency... more
Jane Jacobs in the Nature of Economies (2000) argues that economies have the same dynamics as ecological systems. Jacobs develops concepts including development, co-development, expansion, feedback loops, bifurcations and emergency adaptions. Douglas and Fremantle explore Jacobs argument in relation to artistic research and practice, through the lens of 8 years of projects, firstly in the remote and rural North East of Scotland, and more recently through the Working in Public Seminars with Suzanne Lacy, and through The Artist as Leader.
This presentation discuss the concepts and frameworks of the various engaged art practices in the research programme of “On The Edge Research” at the
Gray School of Art, Richard Gordon University, Aberdeen,
http://www2.rgu.ac.uk/subj/ats/research/staff/douglas.html
This presentation discuss the concepts and frameworks of the various engaged art practices in the research programme of “On The Edge Research” at the
Gray School of Art, Richard Gordon University, Aberdeen,
http://www2.rgu.ac.uk/subj/ats/research/staff/douglas.html
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We inhabit the North East of Scotland. We are surrounded by rich and visible references to Scotland’s past. This heritage lives in our sense of the present. We are interested in art happening in the everyday. We make artistic... more
We inhabit the North East of Scotland. We are surrounded by rich and visible references to Scotland’s past. This heritage lives in our sense of the present. We are interested in art happening in the everyday. We make artistic interventions in specific places.
We work very slowly. We explore different possibilities before deciding to go ahead. Sometimes we decide to do nothing.
We listen.
We work very slowly. We explore different possibilities before deciding to go ahead. Sometimes we decide to do nothing.
We listen.
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Through this paper we would like to articulate an approach to art and design practice that questions two fundamental assumptions * It is not framed by the creative practice of an individual artist delivering an authored artwork to a... more
Through this paper we would like to articulate an approach to art and design practice that questions two fundamental assumptions
* It is not framed by the creative practice of an individual artist delivering an authored artwork to a public or audience.
* It involves, in a creative process, people who do not necessarily or readily define themselves as creative in relation to their everyday life.
* It is not framed by the creative practice of an individual artist delivering an authored artwork to a public or audience.
* It involves, in a creative process, people who do not necessarily or readily define themselves as creative in relation to their everyday life.
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Reflection on Place of Origin, a 10 year artist-led landscape as art project.
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Four essays (Linda Frye Burnham, Reiko Goto, Francis McKee and Tim Nunn) and an introduction (Douglas and Fremantle) on artists and leadership
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Essay for the Land Art Generator Initiative 2014 Copenhagen publication (Prestel, 2014). Fremantle discusses collaboration, interdisciplinarity and social justice in design innovation.
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For Art Educators failure emerges as a critical positive aspect of the development their own artworks, experienced iteratively (unpublished interviews). Failure is an important part of entrepreneurship, though it is framed in absolute... more
For Art Educators failure emerges as a critical positive aspect of the development their own artworks, experienced iteratively (unpublished interviews). Failure is an important part of entrepreneurship, though it is framed in absolute terms of bankruptcy (Shepherd 2004).
Whilst the linguistic origins of failure are in the economic domain, conceptualised in terms of a failed enterprise, over time the term has shifted and become personalised, in parallel with the emergence of individualised cultures. 'I made a failure' has become 'I am a failure.' (Le Feuvre (ed), 2010)
Conceptualisations of failure from both art and entrepreneurship will be explored with the aim of better understanding different nuances: absolute failure versus iterative failure, innovation versus improvisation (Hallam and Ingold 2007).
Such conceptualisations are important in a pedagogical context because failure, understood as part of a process of making (rather than a state of being), is recognised as a valuable learning tool.
Whilst the linguistic origins of failure are in the economic domain, conceptualised in terms of a failed enterprise, over time the term has shifted and become personalised, in parallel with the emergence of individualised cultures. 'I made a failure' has become 'I am a failure.' (Le Feuvre (ed), 2010)
Conceptualisations of failure from both art and entrepreneurship will be explored with the aim of better understanding different nuances: absolute failure versus iterative failure, innovation versus improvisation (Hallam and Ingold 2007).
Such conceptualisations are important in a pedagogical context because failure, understood as part of a process of making (rather than a state of being), is recognised as a valuable learning tool.
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Chris Fremantle, Co-producer, Public Art Scotland (Chair) George Beasley, Professor Emeritus Georgia State University Mary Neubauer, Professor, School of Art, Arizona State University Jana Weldon, Senior Project Manager, Scottsdale... more
Chris Fremantle, Co-producer, Public Art Scotland (Chair)
George Beasley, Professor Emeritus Georgia State University
Mary Neubauer, Professor, School of Art, Arizona State University
Jana Weldon, Senior Project Manager, Scottsdale Public Art Program
Art in the public realm is an important part of Scotland's cultural development (e.g. Deveron Arts http://www.deveron-arts.com/ , nva http://www.nva.org.uk/), Glasgow International http://www.glasgowinternational.org/ and smaller festivals, and Velocity http://www.culturesparks.co.uk/intelligence/information/engaging-public-velocityart the public art development programme for the Commonwealth Games in Glasgow in 2014). Glasgow School of Art http://sea-studio-blog.blogspot.com/ has been central to this story.
Festivals, art schools, artist-led organisations and local government play key roles in the ecology.
For 26 years the Scottsdale Public Art (http://www.scottsdalepublicart.org ) transformed this 184-square mile city into an interactive outdoor gallery, largely utilizing the built environment with large scale projects. More recent initiatives focus on emerging practices and social context, with a few specifically addressing sculptural opportunities: In Flux and Belle Art. The initiatives take on overlooked but common nooks that exist in every place, but that highlight the quirks of expansion and space that are unique to create the unexpected experience.
Drawing on Scottish and US experiences, this panel will incorporate artists and public art managers working across urban and rural contexts.
We will re-frame the panel format away from formal presentations and desultory questions about opportunities, into a discussion focused on the key questions of initiative and leadership, organisational form and intervention.
George Beasley, Professor Emeritus Georgia State University
Mary Neubauer, Professor, School of Art, Arizona State University
Jana Weldon, Senior Project Manager, Scottsdale Public Art Program
Art in the public realm is an important part of Scotland's cultural development (e.g. Deveron Arts http://www.deveron-arts.com/ , nva http://www.nva.org.uk/), Glasgow International http://www.glasgowinternational.org/ and smaller festivals, and Velocity http://www.culturesparks.co.uk/intelligence/information/engaging-public-velocityart the public art development programme for the Commonwealth Games in Glasgow in 2014). Glasgow School of Art http://sea-studio-blog.blogspot.com/ has been central to this story.
Festivals, art schools, artist-led organisations and local government play key roles in the ecology.
For 26 years the Scottsdale Public Art (http://www.scottsdalepublicart.org ) transformed this 184-square mile city into an interactive outdoor gallery, largely utilizing the built environment with large scale projects. More recent initiatives focus on emerging practices and social context, with a few specifically addressing sculptural opportunities: In Flux and Belle Art. The initiatives take on overlooked but common nooks that exist in every place, but that highlight the quirks of expansion and space that are unique to create the unexpected experience.
Drawing on Scottish and US experiences, this panel will incorporate artists and public art managers working across urban and rural contexts.
We will re-frame the panel format away from formal presentations and desultory questions about opportunities, into a discussion focused on the key questions of initiative and leadership, organisational form and intervention.
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What is the relationship between the social, environmental and political trajectories of key artists and the materiality of their practices, so often categorised as sculpture? How does materiality inform art works which are fundamentally... more
What is the relationship between the social, environmental and political trajectories of key artists and the materiality of their practices, so often categorised as sculpture? How does materiality inform art works which are fundamentally social, environmental and political. On The Edge Research, a practice-led research programme at Gray's School of Art, Aberdeen, has worked with artists from the US (Helen Mayer Harrison and Newton Harrison and Suzanne Lacy), Canada (Gavin Renwick) as well as in England (PLATFORM and the Artist Placement Group) and Scotland (Paul Carter, Arthur Watson and Will Maclean).
Panelists (3 including Chris Fremantle and Professor Anne Douglas) will unpack the relationship between issue, process and material. There will be three short presentations; two focused on specfic examples in practice and one on a key theoretical position. 30-45 minutes will be given over to discussion with the audience.
Chris Fremantle is currently working with the National Health Service in Glasgow to deliver two sets of public art commissions into new-build hospitals. He produced the Harrisons' project Greenhouse Britain, and worked with PLATFORM on Remember Saro-Wiwa. He was formerly Director of the Scottish Sculpture Workshop. He has been Research Associate with On The Edge for The Artist as Leader.
Panelists (3 including Chris Fremantle and Professor Anne Douglas) will unpack the relationship between issue, process and material. There will be three short presentations; two focused on specfic examples in practice and one on a key theoretical position. 30-45 minutes will be given over to discussion with the audience.
Chris Fremantle is currently working with the National Health Service in Glasgow to deliver two sets of public art commissions into new-build hospitals. He produced the Harrisons' project Greenhouse Britain, and worked with PLATFORM on Remember Saro-Wiwa. He was formerly Director of the Scottish Sculpture Workshop. He has been Research Associate with On The Edge for The Artist as Leader.
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Granted Session on collaboration
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Introductory presentation
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Granted Collaborate Creatively Session
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Chairing a panel comprising Emily Brady, Professor of Environmental Aesthetics, University of Edinburgh; Mike Small, author and Director of the Fife Diet; and Ben Twist, Theatre Director and Director of Creative Carbon Scotland.
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Invited presentation at The Forest Is Moving, an Imagining Natural Scotland funded programme of work between the community of the Black Rannoch Wood, the Forestry Commission and the Collins + Goto Studio.
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Chairing a panel discussion with keynote David Harding and including Joan McAlpine MSP, Professor Mike Bonaventura of the Critchton Carbon Centre, Donald Urquhart RSA and Ted Leeming landscape photographer
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Chaired first panel discussion associated with CO2 Edenburgh project.
Research Interests: Art, Remote Sensing, Ethnography, Environmental Studies, Environmental modeling, and 10 moreUrbanism, Environmental Monitoring, Environmental Art, Sustainable Design, Revolutionary Theory, Digital mapping, Geodesy and Global Positioning System (GPS) and Their Applications In Earth Sciences, Critical Urban and Cultural Theory, Sociology of Space and Architecture, and Geographic Information Systems (GIS)
Day long jaunt around Angus and Perthshire with a group of delegates from the Invisible Scotland conference.
Research Interests: Place and Identity, Space and Place, Sense of Place, Phenomenology of Space and Place, Gypsies & Travellers, and 4 moreSocial mobility and education. Social class. Ethnicity/'race' and minority studies. Roma/Gypsy/Travellers. Mixed methods research, Pictish History and Scottish Early Medieval History, British and Scottish ballads, and Scottish Ballads
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co-authored poster (Charles Bestwick, Mike Bonaventura, The Center for Genomic Gastronomy (Zackery Denfeld and Cathrine Kramer), Hans K Clausen, Lorna Dawson, Harry Giles, Jo Hodges and Robbie Coleman, Jennie Macdiarmid, Wendy Russell,... more
co-authored poster (Charles Bestwick, Mike Bonaventura, The Center for Genomic Gastronomy (Zackery Denfeld and Cathrine Kramer), Hans K Clausen, Lorna Dawson, Harry Giles, Jo Hodges and Robbie Coleman, Jennie Macdiarmid, Wendy Russell, Christine Watson).
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Blog for Open Glasgow in preparation for their Health Hack.
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Visual essay on the art installed in the New Victoria and New Stobhill Ambulatory Care and Acute Diagnostic Hospitals (ACAD) in Glasgow. Stobhill: Lead Artist/Poet: Thomas A Clark, Ken Dingwall, Andreas Karl Schulze, Olwen Shone, Donald... more
Visual essay on the art installed in the New Victoria and New Stobhill Ambulatory Care and Acute Diagnostic Hospitals (ACAD) in Glasgow. Stobhill: Lead Artist/Poet: Thomas A Clark, Ken Dingwall, Andreas Karl Schulze, Olwen Shone, Donald Urquhart. Victoria: Lead Artist: Ally Wallace, Ronnie Heeps, Jacki Parry, Calum Stirling, Hanneline Visnes.
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This small book offers a visual and verbal reflection on the process of artistic practice and the ephemeral traces left by these. It is part of the exhibition 'Calendar Variations', held at Woodend Barn, Banchory, Scotland in April 2011.... more
This small book offers a visual and verbal reflection on the process of artistic practice and the ephemeral traces left by these. It is part of the exhibition 'Calendar Variations', held at Woodend Barn, Banchory, Scotland in April 2011. It considers the links of artistic practice with experience in the world and improvisation. This started in the summer of 2010 with an artistic project, Calendar Variations, a dynamic interpretation through drawing of the score, Calendar, 1971 by the artist, Allan Kaprow. The resulting work developed by researchers at Grays School of Art, Robert Gordon University, co-incided with the musical project, 'Unexpected Variations' in Belgium at the Orpheus Research Centre in Music, Gent. A deep interaction between the artist-anthropologist Anne Douglas and the artist-philosopher, Kathleen Coessens, members of both artistic research groups, as well as the commitment and collaboration of the visual artists, shaped the artistic project into an engaged dynamic movement between the different communities involved.
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The Artist as Leader was a two stranded project initiated by Cultural Enterprise Office and Performing Arts Labs (PAL) in collaboration with On The Edge Research. Douglas and Fremantle were responsible for developing research to underpin... more
The Artist as Leader was a two stranded project initiated by Cultural Enterprise Office and Performing Arts Labs (PAL) in collaboration with On The Edge Research. Douglas and Fremantle were responsible for developing research to underpin a professional development programme working with Scottish and UK artists, organisational leaders and policy makers.
Douglas and Fremantle co-authored The Artist as Leader Research Report, drawing on interviews with more than 30 artists, organisational leaders and policy makers to explore issues associated with leadership, practice and policy. Key case studies within the research included Helen Mayer Harrison and Newton Harrison, Suzanne Lacy, John Latham and Barbara Steveni (Artist Placement Group) and Jude Kelly, South Bank Centre. Fremantle and Douglas undertook the analysis of the interviews and contextualised the findings in relation to the development of Cultural Policy. The report is divided into 2 Sections: Section 1 reviews changes in Cultural Policy (post war to present) as a oscillation between access and participation; Section 2 identifies three approaches to leadership in the arts evidenced by the interview material.
Douglas and Fremantle co-authored The Artist as Leader Research Report, drawing on interviews with more than 30 artists, organisational leaders and policy makers to explore issues associated with leadership, practice and policy. Key case studies within the research included Helen Mayer Harrison and Newton Harrison, Suzanne Lacy, John Latham and Barbara Steveni (Artist Placement Group) and Jude Kelly, South Bank Centre. Fremantle and Douglas undertook the analysis of the interviews and contextualised the findings in relation to the development of Cultural Policy. The report is divided into 2 Sections: Section 1 reviews changes in Cultural Policy (post war to present) as a oscillation between access and participation; Section 2 identifies three approaches to leadership in the arts evidenced by the interview material.