A timely essay published in June was designed to create a public debate around The Right to Art Campaign, launched last year by VAGA (Visual Arts and Galleries Association) with a coalition of colleagues from across the visual arts sector. […]
As part of the NAN initiative, artists from North East England visited Glasgow. Here Alison Unsworth and David Stamp give an overview of their experiences.
Lille Cultural Capital of Europe 2004 that kicked off in December 2003 and runs to November 2004 has three seasons and will include literally hundreds of exhibitions, concerts, films and performing arts events. ‘Metamorphoses’ is the theme for the year’s […]
Brixton Market, London
3 May –26 July
The Code of Practice for the Visual Arts, arrives in time for me to be able to recommend its implementation to a certain arts organisation I recently had a rather unpleasant encounter with. I asked for details from them of […]
This checklist by Sheena Etches and Nicholas Sharp is a tool to help understand the purpose and content of a reproduction licence.
Jeni Walwin, investigates Blast Theory an innovative, yet pragmatic artist-led company that’s proving to be inspiration for many artists working in performance and new media.
Jeni Walwin on the artistic achievements of Blast Theory, an internationally renowned artists’ group creating groundbreaking new forms of performance and interactive art that mixes audiences across the internet, live performance and digital broadcasting.
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.
Tim Birch samples some of the websites selling art online.
A recent forum in Dundee addressed issues surrounding curatorial practice and the relationship between artist and curator. Rob Hunter attended and reports back.
Sophie Scott reports on her experience of the different attitudes and approaches to education initiatives in the arts in the USA.
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.
Five members of German artist /motorcycling group MC o.T. were invited by Cleveland Arts to spend a week in the North of England, on a residency supported by Year of the Artist and Tees Valley Tourism.
