Penelope Curtis explores how ‘installation art’ has affected our readings of art, artists and curators.
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Working internationally, and how this informs an individual artist’s practice, need not only be about physical travel. Gavin Wade and Aleksandra Mir give personal assessments of their involvement in two different projects. Both projects are ongoing, constantly evolving, and involve a process of research and collaboration with individuals and organisations from different countries. The results of this methodology the surrendering of a degree of individual authorship influences the physical manifestation of each artist’s final work.
Peckham’s Whitten Timber Yard is the current home for Area 10, a non-hierarchical artist-led group with experimentation, communication and collaboration at its core.
Site-specificity and community involvement might be buzzwords for attracting funding bodies, but they are no guarantee of project success. Emma Safe visited Swansea for this year’s Locws2 to find out how they tackled some of the issues.
Simon Morrissey reports from the art scenes of two Baltic capital cities.
Louise Clements and Jonathan Willett describe Spectrum 2002, a light-infused programme of exhibitions and outreach work at Nottingham’s artist-run Lightsource.
Louise Short explains the international networks behind the participation of UK artists in this month’s Melbourne Festival.
Deirdre King profiles LA-based artists’ initiative Raid Projects and its international activities.
The Crossley Gallery, Dean Clough Galleries, Halifax 13 April – 30 June
This year will be the second ‘Fresh Art’ event at the Business Design Centre in Islington.
Here gallery director and selector Chris Noraika outlines his view on the event’s somewhat controversial status, and some artists tell us of their experiences and expectations.
Rosemary Shirley talks to Tania Kovats about how she sustained her practice through a flexible and diverse approach to working.
Brendan Fletcher takes a look at how artist-led initiatives, and the Manchester galleries’ willingness to listen have helped shape the current changes in the Manchester art scene.
Current committee member and studio resident, Katie Exley explains the organisation’s role in supporting and exhibiting artists from Glasgow and further afield.
Sunil Gupta, curator with OVA, explains how the organisation promotes cultural diversity in contemporary art.
Abigail Branagan discusses the development of this innovative platform for contemporary design and explores its value to exhibitors.
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.
In the last feature in this series, the focus is on artist Anatoly Osmolovsky living and working in Moscow.
This month Kate Fowle has been talking to Christopher Cozier about his experiences as an artist in Port of Spain, Trinidad.
The second article on artists living and working in different cities across the world focuses on an enterprising development in Germany. With a base in Berlin, Kathrin Böhm and Stefan Saffer are developing projects that look at new collaborations between art and business. Working with leading companies such as Vodafone and Siemens, they are exploring the potential for building practical relationships based on common concerns.
With a breadth of approaches to finding the perfect workspace, Brigid Howarth talks to artists about their different needs and experiences and explores a variety of studio set-ups.
This is the first of a series of articles that focus on artists living and working in different cities across the world. Each gives insight into the artist’s practice, the influence of the city and their thoughts on the relationships between the two. The artist’s have also been asked to identify places they recommend for visitors, as well as key arts organisations to contact for further information.
Lucy Wilson discusses the international outlook and future plans of this artist-run space in London.
Mark Beasley explores the common fabric between today’s permanent and temporary public art commissons.