Profiles of international models researched for Future space.
Future space addresses the future roles and functions of artists’ workspace. It introduces current strategies and concerns and places them in the context of artists’ developing practice and critical frameworks using as a prompt recent interviews with artists and other professionals. What will artists’ practice and resources be like in 2015?
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Read the Future space interviews in full. These interviews formed the base material for the Future space publication.
Kathryn Smith on Johannesburg and Virginia Mackenny on Cape Town. The second part in a series commissioned by Deborah Smith.
Luiz Camillo Osorio on Rio de Janeiro and Ana Paula Cohen on S
Paul Glinkowski talks to Mark Beasley at the start of his Fellowship at Kingston University.
Iliyana Nedkova responds to the networking themes that arose at Amorphous combustion, part of a body of specially commissioned writing published now on www.a-n.co.uk
David Redhead profiles Muf, a collaborative practice of art and architecture committed to public realm projects, exploring its manifesto, projects and modes of collaborative working.
On the West Coast of America, Harrell Fletcher is making history – not in the grandiose sense, but through an approach to art-making that brings out individual voices and stories.
The UK’s seen a noticeable increase in professional development schemes for artists, encompassing training, mentoring, networking and information services. There is an obvious cross-reference to the government’s endorsement of ‘lifelong learning’ as a principle, encouraged through the offer of individual learning accounts for all. These moves increase opportunities for the kinds of artistic development that incorporates developing and honing skills, accessing facilities and ultimately furthering career strategies. The results are more than just CV embellishment. By providing points of crossover between artists, such schemes contribute to peer support systems and help to address the potential isolation of artists. Here, three individuals involved in artists’ professional development matters describe some of the resources around, and discuss how artists are making the most of them.
A regular visitor to Italy since 1981, when Alan Rogers moved there on a more permanent basis his “youthful, romantic love affair” with its warm Mediterranean light was soon replaced by the realisation that day-to-day conditions for contemporary artists were far from ideal.
I collaborate with artist Cas Holmes under the name ‘Art for Alternative Spaces’ and have just finished a Year of the Artist residency in a caravan park on the Isle of Sheppey in Kent. It is a remote area, bleak […]
