Gordon Dalton reports on the Curating Now symposium at the Irish Museum of Modern Art hoping to find the future of curating in museums.
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Paul Glinkowski looks at the experiences of John Keane and Frauke Eigen, artists who have worked in war-torn locations outside of official state sponsored programmes, and talks to Dominic Nutt of Christian Aid who worked with Keane in Israel and Palestine.
Alicia Miller considers the relationship between artist and curator in collaborative projects.
Diana Yeh discusses some of the issues raised by Erika Tan in her keynote speech at the Connecting Flights conference.
At the end of August, curator Sophie Hope was offered a place on the Oreste 3 residency programme in Italy. An opportunity to meet and work with artists from all over Europe seemed too good an opportunity to miss.
Artists, collectors, gallery directors, curators and dealers offer tips and guidance on selling your work and maintaining relationships with clients and collectors.
Hannah Pierce, who has held curatorial and programming roles with organisations including The National Trust and Jerwood Visual Arts, offers advice and explores the key issues to consider when applying for a residency with non-arts organisations.
Kevin Hunt explores the nature of temporariness and expiration, morphing and longevity in artist-led initiatives. Written to coincide with the launch of the Artist-Led Hot 100 (version ii) and Assembly Liverpool, May 2017.
Juan Bolivar, an artist and curator, explores the history and practice of curating, and provides ten key questions for independent curators and artists to help guide you in developing your first exhibitions. Bolivar’s painting practice runs parallel to his curating practice; first initiating TRAILER (2001-05) – an artist collective utilising temporary locations to stage exhibitions – and since, going on to curate over 40 exhibitions as an independent curator.
Proactively seeking out opportunities to realise exhibitions and projects is an important strategy in the arts. Adam Smythe, Curator at the Bluecoat in Liverpool, gives some advice on the best methods of approaching galleries with exhibition proposals for your own work or for curatorial projects.
For this follow up to her Approaching galleries guide, Jennie Syson asked artists, arts managers, curators and gallery directors to share their top tips, and dos and don’ts advice.
Jennie Syson offers some advice on approaching galleries, through setting out the different research routes and methods you might use.
Underpinning is the project of Aberdeen-based artist Kirsty Russell. This profile includes a video interview, recorded at Assembly Aberdeen, in which Russell introduces her practice, which often involves ‘creating spaces where there’s room for other people and ideas.’
A+E is a Glasgow-based multi-disciplinary collective who work at the intersection of art and ecology. This profile includes a video interview, recorded at Assembly Aberdeen, with A+E members Lucy Watkins, Maria Sledmere and Finn Arschavir, who introduce their practice and describe the benefits of working with others to find new perspectives.
Gaada Projects works in venues across Shetland, offering platforms and support to local communities. This profile includes a video interview, recorded at Assembly Aberdeen, with Gaada’s co-directors Daniel Clark and Amy Gear, who outline the challenges and opportunities of setting up an artist-led initiative in a remote, rural location.
Jo Capper is an artist educator and Collaborative programme curator at Grand Union in Birmingham. This profile includes a video interview recorded at Assembly Aberdeen in which Capper introduces her work and describes the importance of collective action.
Market Gallery has been part of Glasgow’s artist-led ecology since 2000. The gallery is led by a volunteer committee and operates from a shop unit in the working-class neighbourhood of Dennistoun, where it presents a varied programme of exhibitions, events and residencies. Lydia Ashman talks to artist and committee member Catalina Barroso-Luque about how the gallery is responding to a reduction of resources through its programme and structure.
Low Profile is a collaboration between Plymouth-based artists Rachel Dobbs and Hannah Jones. This profile includes two videos, recorded at Assembly Cardiff, in which Dobbs and Jones discuss how living in Plymouth has shaped their attitudes as artists and cemented their commitment to making things happen in their city.
The Sustainable Studio is a creative co-working space in a former munition factory in Cardiff. This profile includes a video, recorded at Assembly Cardiff, in which co-founder Sarah Valentin explains how a large warehouse space became a catalyst for working collaboratively and building creative relationships.
The Royal Standard is an artist-led gallery, studios and social workspace in Toxteth, Liverpool. This profile includes a video, recorded at Assembly Dundee, in which artistic directors Lucy Bretherton and Becky Peach introduce their roles and outline the challenges of sustaining a volunteer-run organisation for over a decade.
Generator Projects is an artist-led gallery in Dundee. This profile features a video interview, recorded at Assembly Dundee, in which Generator Projects’ chair and committee members introduce the organisation and discuss its aim of supporting emerging artists in the city.
Rat Trap is a Cardiff-based creative collective of recent graduates who organise exhibitions and events as a platform for artists and musicians to share their work and develop their practice. This profile features two videos, recorded at Assembly Cardiff, in which members of Rat Trap introduce their work and consider the notion of success.
Tin Roof is an artist-led collective that runs Dundee Ceramics Workshop. This profile includes an interview with artist and co-founder of Tin Roof, Joanna Helfer, recorded at Assembly Dundee, in which she describes her involvement with Dundee’s artist-led scene and her optimism for the future.
In 2017, Wysing Arts Centre restructured its residency programme to be more responsive to artists’ situations and to support a more diverse pool of practices. Drawing on a conversation that took place between Wysing’s director Donna Lynas and resident artist Tessa Norton at the ‘Pivotal Moments’ conference, Lydia Ashman explores how and why the programme has changed.
The Mothership is an independent residency programme run by artist Anna Best from a purpose built studio nestled in Dorset woodland. Lydia Ashman speaks to Best and former resident artist Dominque Golden about how the flexibility of The Mothership is particularly supportive of artists with families.