For one evening in October, Edinburgh’s Collective Gallery brought together six artist-led studio groups and galleries for an Artists’ DIY Soapbox.
On reading Mitra Memarzia’s report on diminishing resources in undergraduate courses (‘The future of art education’, a-n Magazine September 2011) I was moved to both endorse the findings and speculate further on the continuing erosion of specialist teacher training in art education.
The continued squeeze on arts funding is throwing up some interesting solutions to supporting artists, whilst raising some serious debates about the future of the profession.
In March, AIR – Artists Interaction and Representation – put its weight behind calls for art education to be accessible to all, following a survey in which 95% of its members gave hearty support to the view that art education should be accessible “irrespective of background and financial status”. Here we outline AIR’s campaign and the survey’s key findings to provide evidence for artists to use.
Liverpool John Moores’ University, Liverpool
7 October 2010
Glad to see that a-n is giving space to debate the activism of Liberate Tate and the relationship between oil, art and sponsorship (a-n Magazine,September 2010).
This guide takes artists through the different stages of finding and creating opportunities to work with young people in a range of settings. It asks: How are artists recruited? What is the best practice? What do young people want from such collaboration? What do artists need from teachers?
Regents Park, London
15 – 18 October 2009
AIR – Artists Interaction & Representation welcomes the opportunity to contribute to the workforce development plan for the visual arts.
Audience development is core within galleries and arts organisations seeking diverse participation in programmes. Here, we examine how they create accessibility, inclusion and encourage learning and engagement with artists and artworks through activities including workshops, residencies and other projects.
Many artists aspire to permanent studio space, whether self-initiated or rented through a specialist organisation. Here, we explore some current options for artists and makers with the focus not only on developments in London but also elsewhere in England, Wales and Ireland.
Guyan Porter talks about the socio-economic dynamics of art markets and deconstructs notions of the art market in the UK.
Close proximity speaker, David Cotterrell gives his view of the pitfalls and advantages of work in the public realm.
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.
For artist Emma Baird Murray, Coed Hills Rural Artspace in South Wales has become a place of inspiration, a space where making art, sustainable living and community involvement go hand in hand. She describes how the organisation works with artists in a rural setting.
Window Sills is neither public art nor community art. It uses collaborative strategies that draw on and sit between a number of artistic practices taking its lead from ‘New Genre Public Art’ – a term used by American artist Suzanne Lacy – which incorporates activist arts, site-specific art, performance art and happenings. The project is also aligned to ideas about art and context developed in universities in the UK.
I have been reading with interest the debate in a-n about the development of “alternative art schools” (Research papers: Alternative art schools, Pippa Koszerek, 2011).
Re-Wilding Practice: A Year-Long Program for Art and Environmental Sustainability Re-wilding Practice is a year-long intensive research and practice-based program developed by Feral Art School in collaboration with an industry partner, G F Smith (a paper manufacturer). Together with nine […]
a-n Research editor Dany Louise highlights content that focuses on education in schools and universities in our growing, free-to-view index of visual arts cultural policy and strategy documents.
Resources and References (in no particular order) Anna and Lawrence Halprin – RSVP Cycles, Driftwood Village, Sea Ranch Cooperative Principals Updated – Ann Hoyt https://www.grocer.coop/articles/cooperative-principles-updated Collective Courage: A History of African American Cooperative Economic Thought and Practice http://www.psupress.org/books/titles/978-0-271-06216-7.html Free University […]
Modern Edinburgh Film School brings together practitioners in visual art, poetry, performance and film to explore alternative approaches to the screen. Project founder Alex Hetherington talks about community, social sculpture and his search for a sense of ‘elsewhere-ness’ in a very traditional city.
Corridor8, an annual journal showcasing contemporary art and writing in the North of England, launches Part 3 of its third Issue tonight at The Bluecoat, Liverpool.
Led by Primary, an artist-led contemporary visual arts organisation
Thursday 30 March 2023, 10.30am– 3.45pm
Friday 31 March 2023, 10.30am – 2.15pm
Online via Zoom Free for a-n members
Taking place online, Assembly Nottingham: Collaborative Programming will focus on how organisations and projects can effectively and impactfully work together with artists and communities. This event is for a-n members. Please log in to register for this event. Not yet a member? Find out more and join a-n today
Exhibition highlights featuring a-n members, including Maybelle Peters in Nottingham, early-career artists in Hull and Northern Irish craft.
Exhibition highlights across the UK with work by a-n members including Rhea Dillon and Paloma Proudfoot’s sculptures on a London rooftop.
