This spring, as part of the Africa 05 arts festival, a number of artists from around the African continent are in London making new work for various cultural institutions. Paul Glinkowski introduces the work of five of them.
Aimed at public sector arts employers, commissioners, consultants and arts trainers, Good practice in paying artists addresses the context for fees and payments for artists’ residencies, workshops and community commissions.
In February, contributions were invited by a Parliamentary Select Committee from key visual arts organisations to an inquiry into DCMS’s support of the art market, in particular into “ways of supporting and encouraging living artists and the production of new work”.
Art Gene combines a residency programme with links with education and plays an active part in local regeneration.
Rodney Court is a proposed conversion of a Manchester tower block into live/work space for artists.
S1 Artspace provides studios for artists whose work is both contemporary and critically engaged.
TactileBOSCH is a studio group committed to experimentation, presentation and collaboration.
Valley Artists is a mix of established practitioners, recent graduates and current students.
Out of the Blue has thrived through establishing a diversity of activities and income streams.
DAW adapted a successful model of an open studios event for a rural location.
Temporary studios can be a useful option for creating project-specific work.
How a partnership with their local university helped FusionARTS secure studio premises.
Kathryn Smith on Johannesburg and Virginia Mackenny on Cape Town. The second part in a series commissioned by Deborah Smith.
How education work has contributed to this studio’s success.
CRATE successfully accessed economic development and regeneration funds to buy a building.
Triangle Gallery, SPACE Studios, London
15 January – 15 February
Dominic Thomas on the importance of a critical context for artists’ practice. One of a specially commissioned set of articles resulting from Quo Vadis available now on www.a-n.co.uk.
Paul Glinkowski on the circumstances around cultural barriers and how they can be breached or transformed.
Philip Babot on the cross-border and international achievements of artists’ organisations in South Wales.
Sarah Jane Pell with an Australian perspective on the impact of this ‘jam-packed’ weekend.
Penny Klepuszewska, a 2003 graduate from Nottingham Trent University and Chris Boyd, a Manchester Metropolitan University second-year interactive arts student were joint winners of the UK Art Prize 2004, that attracted over 40,000 entries and created ten finalists. They shared […]
The first survey of its kind, intended to provide the beginning of a national register of artists’ studio groups and organisations.
Established in 1988, London-based Delfina Studio Trust provides the largest international residency programme in the UK. Of thirty studios, twelve are allocated as an award that provides artists with studio space and related facilities free of charge for one or […]
Artist’s jobs and opportunities 1989-2003
Gordon Dalton reports on the Curating Now symposium at the Irish Museum of Modern Art hoping to find the future of curating in museums.
