In 2007 Noemi Lakmaier and Joy Stanley were granted a NAN New Collaboration bursary to fund research and development for Final Intervention, a project responding to the lack of opportunities for early-career installation artists to make and show new work. It aimed to organise collaborative projects/exhibitions within buildings about to be pulled down. Emilia Telese talks to the artists about the bursary and its impact.
In September 2009, the Lincoln Art Programme was granted a NAN Go and See bursary to travel to Bristol for research and development. Emilia Telese talks to Alan Armstrong about the bursary and its impact on his group.
Ramsgate-based artist-led initiative Meltdowns was awarded a NAN Go and See bursary in February 2008 to visit the Scottish Sculpture Workshop in Aberdeen for research and development. Emilia Telese talks to Stacy Keeler of Meltdowns about their experience.
In June 2009, Matt Roberts Arts was granted a NAN Go and See bursary to travel to Sweden and Denmark for research and development. Emilia Telese talks to Matt Roberts of Matt Roberts Arts about the bursary and its impact on the organisation.
Featuring a selection of UK’s most interesting rurally-based organisations and artists’ projects.
Alison Kershaw and Gill Wright recount the developments that brought art to a unique Grade II* listed building in Manchester.
North West England based artist-led publishing initiative Pest was awarded a NAN Go and See bursary in March 2009 to visit artists’ groups in Hungary for research and development. In this NAN report, Emilia Telese talks to Pest about their experience.
In December 2008, Worcestershire Contemporary Artists (WCA) was awarded a NAN Go and See bursary to look at different artist-led organisations in urban and rural areas. Emilia Telese talks to Nathaniel Pitt of WCA about the initiative’s development and the impact the bursary had on its activities.
Faye Claridge received a NAN Re-View bursary in February 2008 in order to initiate mentoring with curator Katy Barron. Emilia Telese talks to her about the bursary and its impact.
Audience development is core within galleries and arts organisations seeking diverse participation in programmes. Here, we examine how they create accessibility, inclusion and encourage learning and engagement with artists and artworks through activities including workshops, residencies and other projects.
In a response to a request to consider issues around ‘rural arts practice’, Veronica Vickery writes in the light of the events, performances, installations and seminar that made up BOS-08 and a BOSarts research trip, funded by ALIAS to Grizedale and Allenheads Arts in August 2008.
Brian McClave and Gavin Peacock recall how they joined forces within their artistic careers, and discuss their motives for collaborating.
Andrea Hawkins, Head of Public Engagement at Manchester’s Whitworth Art Gallery and artist Lucienne Cole talk about an innovative approach to publicly-engaged art.
Profiling studios and facilities around the UK.
Art at the Centre is an award scheme from Arts Council England, South East that seeks to involve artists from the outset of regeneration projects across the region. As part of this scheme, Maidstone Borough Council looked to develop an Artists’ Quarter in the heart of the town to promote the area’s wealth of creative talent. Here video-media artist Margherita Gramegna and consultants FrancisKnight talk about their involvement in this process and the resulting work, Artists Don’t Bite.
Sat on a hay bail, a chicken preening itself beside me, wondering exactly where I am (Bosigran: half way between Penzance and St Ives), surrounded by conceptual drawings and performance traces mounted on the walls of a barn, listening to an artist-led panel discussing performativity, respect of the land and an ancient rock formation known as Carn Galva. What is this thing: BOSart 08?
With a-n amongst the first to record its phenomenal impact through publication way back in 1991 of Live art, performance as it was then known, exhibited the characteristics of all that was innovative and edgy. In its introduction, Robert Ayers and David Butler commented: “Live art’s continued value and relevance is mirrored by the extent to which other live artists continue to come up with surprising, disconcerting new possibilities”.
Artist-architect team Kevin Carter and civic Architects discuss their work with Louise Kirkup, Principal Planner of Burnley Borough Council, in the latest in our collaborative relationships series.
In a world increasingly skewed by notions of commodity and markets, artists and creative practitioners must be proactive in seeking out opportunities that enable them to experiment and take the risks that will drive up the quality of their work.
Ruth Claxton, Postcard (Portrait of a Boy), cut postcard, 2008. Photo: Stuart Whipps
Lauren Healey discusses Gallery Glue’s relationship to NAN.
Felicity Shilingford discusses collaboration and networking within her practice.
Highlighting digital and new media commissions, exhibitions, research and resource developments.
HTML version of Community engagement in which Catherine Wilson explores the myriad ways artists can engage with specific communities via residencies, collaborations, cross-cultural projects and research.
Catherine Wilson addresses three collaborative projects by Rio de Janeiro-based Mauricio Dias and Walter Riedweg who develop works with communities and social groups often on the edges of mainstream society.
