You searched for access - Page 31 of 34 - a-n The Artists Information Company

David Butler discusses live art support structures and their relevance to other arts sectors.

Moira Jeffrey visits the Scottish Highlands and Islands to see how a bid for European Capital of Culture is affecting artists and art organisations.

Joanne Lee discusses the evolution of communication and collaboration strategies with Flasch – a group of artists working across northern European countries.

Rosemary Shirley explores ways artists are working in or with remote locations and how new technologies are being employed.

Lucy Kimbell explores some of the ways that artists are immersing themselves in business culture.

Sue Jones, co-director and curator for e-2 explains the organisation’s remit to raise the profile and understanding of digital arts.

Sophie Scott reports on her experience of the different attitudes and approaches to education initiatives in the arts in the USA.

Two years ago artist Betsy Tyler Bell invited a group of English artists to live and work in her house in southern France. Participating artist Helen Ganly, describes how last summer’s project culminated in a successful month-long exhibition.

The creation of small-scale saleable works is a strategy that many artists may have considered. Here, Brigid Howarth talks to two artists with successful product lines that sit alongside their main practice.

This ambitious artist-led project has involved seventy-five artists and resulted in over 100 artworks. Cassie Thompson visits the exhibition and talks to the project organisers.

John Plowman profiles KÜnstlerhaus Schloss Balmoral, one of about a dozen such institutions in Germany offering residencies to international artists.

Abigail Branagan discusses the development of this innovative platform for contemporary design and explores its value to exhibitors.

Rick Faulkner, artist and director of Chrysalis Arts, outlines the international ‘Artists in Transition’ project and how it adapted to the change in circumstances imposed by the outbreak of Foot and Mouth.

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.