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?
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An overview of curatorial practice, highlights profiles and other resources on this topic.
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.
Kate Phillimore and Matthew de Pulford propose the jester as a vehicle for understanding playfulness, mediation, diplomacy and rebellion within curatorial practice.
Rachel Garfield explains how a desire to critique dominant models of the mainstream informs her curatorial practice.
Launched in October, the International Curators’ Forum website supports its aim to provide an open conceptual network around emerging issues of curatorial practice in the context of key events in the international arts calendar.
Lee Simmons talks to Emily Druiff about her curatorial practice, partnership working and her shift from artist to curator.
Chintan Upadhyay and Bose Krishnamachari have been voicing their concerns about Indian curatorial practice through their art projects for the last few years. Considering their arguments, JohnyML says that Indian curatorial practice is going through a phase of crisis; a phase of identity crisis.
A recent forum in Dundee addressed issues surrounding curatorial practice and the relationship between artist and curator. Rob Hunter attended and reports back.
Rosemary Shirley explores new approaches to curating in rural contexts including New Geographies, a project developed by a consortium of nine arts organisations based in the East of England, and Ian Giles work as part of the project, Open Ramble East, which looks at queering rural places through rambling walks.
Jo Hodges and Robbie Coleman’s collaborative and multi-disciplinary practice questions our relationships with environment and landscape. Sally Davies talks to the Dumfries and Galloway-based artists about working in, and interpreting, rural contexts.
Peak is an arts organisation based in the Black Mountains in Wales that works with artists and communities to respond to the rural environment. Peak’s Creative Director Rebecca Spooner speaks to Rosemary Shirley about the organisation’s contemporary arts remit for making and showing art in rural places.
Naoko Mabon, who works under the name Wagon, is an Aberdeen-based freelance curator. This profile includes a video interview recorded at Assembly Aberdeen in which Mabon introduces her work and offers advice to artists thinking about setting up their own initiative.
Here, we profile a selection of courses offering postgraduate level study for artists seeking to develop their practice further within creative, supportive and critically challenging environments.
Shisha, the Manchester-based agency for contemporary South Asian crafts and visual arts has closed.