Photo of Dr. Andrew Hewitt

Dr. Andrew Hewitt

  • Job title: Senior Lecturer in Art and the Public Sphere
  • Department: Fine Art

General information

Dr Andrew Hewitt is a practicing artist and academic, teaching practice and theory. He is also the founding co-editor of Art and the Public Sphere Journal, a cross-disciplinary journal that combines the study of art, politics and geography.

Hewitt has worked collaboratively with Dave Beech and Mel Jordan as the Freee art collective since 2004. Hewitt's art practice with Freee is critically and academically recognised, including citation in Art and Visual Culture 1850-2010: Modernity to Globalisation, S. Edwards and P. Wood (eds), Open University and Tate.

Through his collaboration with Freee, Hewitt has worked with public and professional arts organisations and galleries, nationally and internationally. These include: Liverpool Biennial; Venice Biennial; BAK, Utrecht; SMART, Amsterdam; Culturgest Porto; ICA, London; Collective Gallery Edinburgh; and Wysing Arts, Cambridge.

Freee's art practice combines key art historical elements that constitute an expanded engagement with social and participatory art practices. These include the use of text as slogan; sculptural props; installation; print; video; photography and montage; participative processes; speech acts; and performance. Freee aims to transform an audience into a discursive but dissenting public. In their participatory artworks they devise strategies to occupy the public sphere as a site of contestation, social transformation and agency. Recent Freee exhibitions include the 2013 Istanbul Biennial, Mom, Am I Barbarian?


Andrew Hewitt is Senior Lecturer in Dialogical, Relational and Participatory Practices, teaching practice and theory on the BA Fine Art and MA Fine Art programmes. He also teaches the professional practice modules Professional Studies and Fine Art Practice and Context. He teaches across the Fine Art discipline but provides specific support on ideas of social art, politics and the avant-garde.

Concepts such as relational aesthetics have become a key concept in contemporary art and have changed arts ontology. Hewitt believes it is essential that Fine Art students are aware of these key debates, as it informs their understanding of the value and agency of relational and participatory artistic production, which is distinct from more conventional object-viewer traditions in art.

The terms Dialogical, Relational and Participatory Practices capture the activity of practitioners to engage audiences, coined as 'the social turn in art' by Claire Bishop (2006), in which art produces social relations between viewers and onlookers. This is regularly framed as convivial micro-utopias by Nicolas Bourriaud's Relational Aesthetics (2002); Grant Kester's (2005) ethics of participation; Claire Bishop's (2011) agonistic model of participation; and the more recent dissensual model of participation as proposed by Kim Charnley (2010) and Andrew Hewitt (2010).


Hewitt is developing new research that extends his doctorate study on art, politics, cultural policy and the avant-garde. In 2012 he completed a practice-led PhD at Chelsea School of Art. His thesis, entitled Art and Counter Publics in Third Way cultural policy, examined how under New Labour, the rhetoric of 'Third Way' governance informed cultural policy. The agenda for cultural policy therefore converged with priorities for economic and social policy, through the implementation of policies by Arts Council England and in the commissioning of publicly funded visual art. Hewitt's research applied theories of the public sphere to the theories of art and participation – theories that articulate art in relation to its publics. While socially engaged artists have produced new modes of art practice that have shifted arts ontology, the research points to how Third Way cultural policy was quick to seize upon socially-engaged art for its own agenda. The artworks were a means to test the hypothesis and to find evidence by intervening in Third Way cultural policy with alternative ideas. Freee's public spherian art proposes new modes of participative art to counter Third Way cultural policy - a 'counter-public art'.

Post-doctoral work includes the book chapter "Deeper, Stronger, Faster and Longer", in New Interactive Practices in Contemporary Art, edited by Kathryn Brown and published by I.B. Tauris, May 2014.

Hewitt is also developing new work with Freee art collective: "A properly political art must be twice political" for the exhibition Critical Machines, curated by Octavian Esanu, AUB Art Galleries, Beirut, Lebanon, 6 March-26 July 2014. This piece is a documented performance in central London, in which Hewitt and Freee members collaborate with invited guests to wear an oversized sandwich board that holds the artists' text work. The project follows Freee's earlier sloganeering and embodied artworks, such as those presented at the Istanbul Biennial, 2013 and the Liverpool Biennial, 2009. Freee are also developing new work for the forthcoming exhibition Part of the Game, Gallery nGbK, Berlin, August 2014.

Collaborative research

Hewitt has held collaborative research appointments and awards with UK and international scholars, including:

  • From Audience to Publics – is the pre-condition of a public based on the opportunity to assemble? Post-doctoral project, Loughborough University. AHRC Cultural Engagement Fund, 2013.
  • Manifesto on Art and Social Inclusion in Urban Communities. Primary Investigator, M Jordan, Loughborough University. Chief Investigators, Professor Loretta Lees, Kings College London; Dr Andrew Hewitt, University of Wolverhampton and Loughborough University; and Professor Frank Moulaert, KU Leuven, Belgium. Research Associates, Dr Constanza Parra, University of Groningen, Netherlands; Dr Catherine Thorn, University of Gothenburg; Dr Martin Zebracki, University of Utrecht; and Professor Ilse Helbrecht, Humboldt University, Berlin. AHRC European Network, 2013.
  • Public Communications: Art, Technology and the Public Sphere. Primary Investigators, Dr Andrew Hewitt, Dr I Bruff, University of Manchester University and M. Jordan, School of Arts, Loughborough University. Working Group: Dr A Cameron, University of Leicester; Dr M Davies, University of Newcastle, Dr P Moore, University of Salford; Dave Beech, Chelsea School of Art and Design. Funded by EPSRC Bridging the Gaps Fund, 2012.


Jump to: 2017 | 2016 | 2015 | 2014 | 2013


  1. Hewitt, A., Beech, D. and Jordan, M. (2017) Citizen Ship (kiosk). Exhibit at: MK CityFest. Middleton Hall, Centre MK, Milton Keynes, 26-29 June 2017. Also exhibited at Art in the Park, Milton Keynes, 1-2 July 2017; Milton Keynes Art Centre, Great Linford, 3-8 July 2017; Margaret Powell Square, Milton Keynes, 10-14 July 2017, returning to Milton Keynes in September/October 2017.
  2. Hewitt, A., Beech, D. and Jordan, M. (2017) Freee kiosk #2: the new text art (of) and making (books) a difference. Exhibit at: For or Against: Art, Politics and the Pamphlet. Loughborough University, 26-27 May 2017.
  3. Hewitt, A., Beech, D. and Jordan, M. (2017) Slogan-badge-billboard, (and slogan writing and badge making) Freee Art Collective 2017. Exhibit at: Sound & Words. MK Gallery Project Space, Milton Keynes, 06-28 October 2017.
  4. Hewitt, A., Beech, D. and Jordan, M. (2017) The National Union of Gallery Visitors and Museum Workers: manifesto and spoken choir reading. Exhibit at: Freee - The National Museum of Gallery Visitors and Museum Workers. Middlesborough Institute of Modern Art, 27 July 2017.
  5. Hewitt, A. and Jordan, M. (2017) The kiosks of the Freee art collective: understanding social art practice and opinion formation for new models of interdisciplinary collaboration. Symposium presented to: ETHNOARTS: Ethnographic Explorations of the Arts and Education, Faculdade de Letras da Universidade do Porto, Portugal, 21-23 June 2017.


  1. Hewitt, A. (2016) Art, its publics and an agenda of impact: the UK case. Kunstlicht. 37(1) 0921-5026. (Online supplement)
  2. Hewitt, A., Beech, D. and Jordan, M. (2016) Freee's public kiosk and spoken choir. Invited Presentation presented to: Cardiff With Culture: Visioning the City, G39, Cardiff, 07 September 2016.
  3. Hewitt, A., Beech, D. and Jordan, M. (2016) Freee-Carracci-Institute. Exhibit at: Freee-Carracci-Institute. NN Contemporary Art, Northampton, 05 November - 24 December 2016.
  4. Hewitt, A., Beech, D. and Jordan, M. (2016) He hath a daily beauty in his life/That makes me ugly. [Text, billboard poster, performance].
  5. Hewitt, A., Beech, D. and Jordan, M. (2016) Manifesto for art: the public sphere and the work of the Freee art collective. Seminar Presentation presented to: Beyond Art Activism: Rewriting Art's Neoliberal Value System Seminar, Irish Museum of Modern Art, Dublin, 26th October 2016.
  6. Hewitt, A., Beech, D. and Jordan, M. (2016) Open letter to the Engage International Conference, Liverpool 2016. Invited Presentation presented to: Engage International Conference 2016, Liverpool Hope University, 13-14 October 2016.
  7. Hewitt, A., Beech, D., Jordan, M., Hunter, H. and Morosanu, R. (2016) Public kiosk. Invited Presentation presented to: Arts & Humanities Research Council (AHRC) Commons First National Event: Common Ground, University of York, Heslington, York, 21 June 2016.
  8. Hewitt, A., Jordan, M. and Beech, D. (2016) Working within the histories, theories and practices of the public sphere. Panel Presentation presented to: University of Leicester, School of Museum Studies 50th Anniversary International Conference: Museums in the Global Contemporary: Debating the Museum of Now, Leicester, 20-21 April 2016.


  1. Hewitt, A., Beech, D. and Jordan , M. (2015) Advice of three onlookers; Freee on Lenin's letter of advice. STRIKE! Magazine. 10, pp. 1-3. 2051-6606.
  2. Hewitt, A., Beech, D. and Jordan, M. (2015) Cutting publics out of communities. Invited Presentation presented to: Cutting Publics Out of Communities, Malmo Academy of Arts, 21-24 September 2015. (Unpublished)
  3. Hewitt, A., Beech, D. and Jordan, M. (2015) How to change the world. Workshop presented to: 9th International Conference in Critical Management Studies: Is there an Alternative? Management after Critique, University of Leicester, 08-10 July 2015. (Unpublished)
  4. Hewitt, A. and Jordan, M. (2015) Politicizing publics: a social framework for public artworks. In: Cartiere, C. and Zebracki, M. (eds.) Everyday Practices of Public Art: Art, Space and Social Inclusion. London: Routledge. pp. 27-44.
  5. Hewitt, A. (2015) Public art against the 'public': does state funded art, participatory art practices and socially-engaged art benefit the public? In: Differences, Inequalities and Sociological Imagination: ESA 2015: 12th Conference of the European Sociological Association 2015: Abstract Book. European Sociological Association and Institute of Sociology of the Czech Academy of Sciences. 9788073302726. p. 152.
  6. Hewitt, A., Beech, D. and Jordan, M. (2015) To Hell with Herbert Read. Anarchist Studies. 23(2) 0967-3393.


  1. Hewitt, A., Beech, D. and Jordan, M. (2014) A Properly Political Art Must Be Twice Political. Exhibit at: Critical Machines (Exhibition and Conference). AUB Byblos Bank Art Gallery, American University of Beirut, 06 March - 26 June 2014.
  2. Hewitt, A., Beech, D. and Jordan, M. (2014) Economists are wrong!: the Warsaw Manifesto 2011. In: Kozłowski, M., Kurant, A., Sowa, J., Krystian, S. and Szreder, K. (eds.) Joy Forever: the Political Economy of Social Creativity. London: MayFly Books. pp. 237-247.
  3. Hewitt, A., Beech, D. and Jordan, M. (2014) Taking Sides. [Participative art event].
  4. Hewitt, A., Beech, D. and Jordan, M. (2014) The impossible participant. In: Brown, K. (ed.) Interactive Contemporary Art: Participation in Practice. London: I.B.Tauris. pp. 255-269.


  1. Hewitt, A. (2013) Founding editor. Art & the Public Sphere. Bristol, UK: Intellect. 2042-793X.
  2. Hewitt, A., Beech, D. and Jordan, M. (2013) Protest Drives History. Exhibit at: Istanbul Biennial 2013: “Mom, Am I Barbarian?” . Istanbul, 14 September-20 October 2013.
  3. Hewitt, A., Beech, D. and Jordan, M. (2013) Revolution is sublime: Freee on the sublime and political practice of art and activism today. The Sublime is Now? 36, pp. 4-5.
  4. Hewitt, A., Beech, D. and Jordan, M. (2013) Twenty-first-century political art: the Freee manifesto for art & twenty-first-century socialism. In: Cull, L. and Daddario, W. (eds.) Manifesto Now! Instructions for Performance, Philosophy, Politics. Bristol: Intellect. pp. 71-84.
This list was generated from NECTAR on Sat Aug 18 01:55:31 2018 BST.

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