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Brigid Howarth investigates the world of arts funding and reveals a network of funding routes available to emerging artists.

With a breadth of approaches to finding the perfect workspace, Brigid Howarth talks to artists about their different needs and experiences and explores a variety of studio set-ups.

Wendy Murray gives the lowdown on support structures and organisations for artists in the Netherlands.

Showing abroad is not necessarily just another chance for an artist to exhibit their work, it can also be the start of future opportunities for collaboration. For myself, this couldn’t be more true than my participation in ‘VANE Export’, an […]

This is the first of a series of articles that focus on artists living and working in different cities across the world. Each gives insight into the artist’s practice, the influence of the city and their thoughts on the relationships between the two. The artist’s have also been asked to identify places they recommend for visitors, as well as key arts organisations to contact for further information.

Window Sills is neither public art nor community art. It uses collaborative strategies that draw on and sit between a number of artistic practices taking its lead from ‘New Genre Public Art’ – a term used by American artist Suzanne Lacy – which incorporates activist arts, site-specific art, performance art and happenings. The project is also aligned to ideas about art and context developed in universities in the UK.

Brigid Howarth talks to recipients of the Clerkenwell Award showcased in the ‘Creative Collective’ exhibition. Run by Clerkenwell Green Association the scheme assists the start up of small creative businesses in a supportive environment.

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.

Artist/writer Emma Safe examines the role of community arts in urban regeneration and in creating social cohesion.

Ceramicist Taslim Martin describes his experiences of working with industry to realise two projects.

Mark Beasley explores the common fabric between today’s permanent and temporary public art commissons.