What is an artist-curator? What makes a good collaborative partnership between a curator and an artist? What financial, practical and critical support is available to curators? Do you work with an organisation or go it alone?
An overview of curatorial practice, highlights profiles and other resources on this topic.
a-n member Hannah Wallis discusses her DASH Curatorial Commission residency at Wysing Arts Centre, and the resulting exhibition by Ain Bailey. Interview by Orla Foster.
This week’s selection includes exhibitions and events in Halifax, Stroud, London and Bridport – all taken from a-n’s busy Events section featuring shows and events posted by members.
In the midst of a growth in performative and participatory art at international art biennials, Documenta recently confirmed the site of a new permanent institute in Kassel. Inspired by an academic conference on conserving contemporary art, Laura Harris assesses the challenges the institute faces in a climate where the experiential is increasingly taking precedence over the art object.
We completed a mini module looking at curatorial principles. First we explored examples of successful and unsuccessful curation. Josephine Pryde, Turner Prize nominee originally used a circular track for her train which people could actually physically interact with by sitting […]
‘Of Other Spaces: Where does gesture become event?’ is a two-‘chapter’ exhibition and symposium at Cooper Gallery, Dundee that presents contemporary and historical feminist art from the 1970s onwards in an attempt to create a dialogue between “artists, thinkers, artworks and practices”. Dundee-based artist Valerie Norris reports from Scotland’s ‘she town’.
Now in its third year, London’s Art Licks Weekend continues to expand beyond its south east beginnings, and this year features an increasing number of venues in the south west of the city. Pippa Koszerek speaks to the two artists behind Streatham Hill’s DOLPH projects, who will be sharing the ‘secrets’ of their practice during the four-day festival.
Talbot Rice Gallery’s TRG3 programme provides space for artists to realise new bodies of work in response to Edinburgh University’s collections, architecture, and academic expertise. Richard Taylor talks to the gallery’s curator and two of the artists he’s been working with.
The third round of a-n’s Re:view bursary scheme has made nine funding awards to a total of 11 artists to develop their practice through self-determined professional development.
Contemporary Art Society and Whitechapel Gallery announce three curatorial fellowships as part of ACE-funded collaboration.
This will be my first visit to Berlin and my first Curatorial Residency. I intend to use this blog to document the research I develop during this 3-month residency at Node Center for Curatorial Studies. The research I develop will […]
Collyer Bristow, London
22 September – 1 December
Paulette Terry Brien reveals how a number of national public-funded galleries and organisations have expanded notions of exhibition programming beyond pristine white-walled gallery spaces, and are commissioning artists to make new and challenging work within the institution, as well as off-site.
Beyond the curatorial work established by and presented from within art museums and galleries, a plethora of curatorial organisations operate in order to support and develop the practice of curating. This tour, by Charlotte Frost, examines some of the different remits addressed by curatorial organisations, providing an initial orientation in their hugely diverse activities.
Professional development opportunities are widely available, ranging from cash awards to advisory sessions and critical debate.
The Biennial age is the age of the illusion of free flowing global movement of thought and capital, when the success of an artist could be measured in airmiles.
A Code of Practice takes commonly-agreed principles of good practice and demonstrates why and how they should be applied.
Encouraging a consistent attitude to quantifying the value of artists across the exhibition and gallery world.
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.
The training-led development programmes that were the norm in artists’ professional development delivery some years ago are giving way to new projects that focus around contemporary practice and are driven by ‘real world’ situations. They recognise that being a visual […]
Susan Jones explores the way artists interact with audiences through projects and schemes which involve social or environmental contexts.
Artist Morag Colquhoun, whose practice includes sculpture, photography, installation, performance, video, textiles and curatorial practice, discusses the benefits and pitfalls of working in a rural context.
