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Conserving contemporary art: practice, theory and the Documenta institute

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.

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Creating spaces for dialogue: feminist thinking in art practice

‘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’.

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DOLPH at Art Licks Weekend: revealing the “blood, sweat and tears” of artistic practice

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.

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Donna Lynas (1967-2021)

Influential Director of Wysing Arts Centre, who was made an MBE in 2020, has died after living with lung cancer for the last two years.

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2017 – How was it for you? #6: Grand Union, Birmingham

The Birmingham gallery and artists’ studios was added to Arts Council England’s national portfolio this year, marking a new chapter in its development. Programme director Kim McAleese and associate curator Seán Elder map out the before and after of “a pretty incredible year”.

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NOW SHOWING #104: The week’s top exhibitions

This week’s selection features a film installation exploring queer intergenerational relationships, an exhibition charting the emergence of contemporary art in China, and a glimpse into how, for a short period during the 1950s, St Ives challenged the then contemporary art capitals of Paris and New York.

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