SSW (Scottish Sculpture Workshop) is an organisation that has always focused on artists and artistic processes. Located in rural north east Scotland it offers accommodation as well as workspace and has often been used by artists to pursue a period […]
The Arts Council of Northern Ireland (ACNI) has recently announced an uplift of more than £10m following the announcement of an extra £18m for the arts over three years from the Department of Culture, Arts & Leisure. Distribution of the […]
Introduction to different kinds of residencies and what they have to offer for creative and career development.
Susan Jones explores the way artists interact with audiences through projects and schemes which involve social or environmental contexts.
Carey Young provides a guide to engaging with businesses and in business contexts.
Neal White, a member of Soda, shares the groups experience of undertaking a residency at the pharmaceuticals company Pfizer.
Andrea Ronan outlines some UK residencies including what sponsors or residency programmers may expect in return for the fees, studios, materials and accommodation on offer.
Richard Cox profiles the Bemis Center for Contemporary Arts, USA, and discusses his involvement as both resident artist and selector.
Jane Watt profiles Grizedale Arts, its residency programme and focus on research and process-based work that encourages interaction with the physical and social environment.
Mark Leahy looks at Ivan Smith’s intentions for his Fellowship in Sculpture at University of Derby, funded by the Henry Moore Foundation, and its role in his career development.
Mark Leahy on Vanda Playford and her PhD research at the Royal College of Art.
Brigid Howarth looks at the career of ceramic artist Kate Schuricht who developed her own business after receiving a Crafts Council Setting Up award.
Manick Govinda profiles Zarina Bhimji and uncovers how two awards have played a pivotal role in her recent work.
Roddy Lumsden talks to artist Joshua Sofaer about the differences between performance and live art, audiences, and finding funding.
Angharad Pearce Jones explores the sprawling career of Tessa Fitzjohn, providing an insight into her successful work/life balance.
Sorcha Dallas profiles Transmission, the Glasgow-based artist-run gallery, that was established in 1983 by graduates of Glasgow School of Art.
Nils Norman’s practice uses digital illustrations and architectural modelmaking to propose redevelopments of urban sites. Chris Hammonds finds out about his ‘multi-front economy’ based practice.
Paul Moss profiles Tanya Axford and discusses the strategies she has employed to maintain her practice.
Chris Hammonds looks into Scott Myles practice and discusses how he has worked on self-initiated projects, developed work through residencies, and benefitted from commercial representation.
Lucy Wilson explores the development and expansion of Hidden Art, an initiative set-up by Dieneke Ferguson to promote the work of designer-makers in Hackney.
The Contemporary Art Society (CAS) supports the museum collection of contemporary art. Hugh Adams investigates the society’s aims and activities and offers advice on making an approach to CAS.
Linda Ball explores how self-employed artists operate and how an artist-run business can work.
Rebecca Farley profiles the Starter studios programme and looks at how six of the scheme’s previous artists were able to develop their careers.
Heather Rigg profiles Next Move, a national professional development scheme which aims to launch the careers of applied artists.
Despite graduating just two-and-a-half years ago, it is incredible how much metalsmith Junko Mori has managed to achieve in terms of reaching different markets and raising the profile for her work. In some ways she appears to be the very […]
