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The Scottish Arts Council has recently published an audit of visual artists. Moira Jeffrey reports.

Jane Watt profiles collaborations between artists and architects at two newly built schools, in the third of the six-part series ‘Navigating Places’.

Jen Southern and Jen Hamilton discuss their collaboration on the ‘Distance Made Good’ project.

Alison F Bell reports from the 12th International Surface Design Association Conference.

Jane Watt looks at artists and commissioners who are redefining what it means to work in the ‘public region’, in the second of the six-part series ‘Navigating Places’.

Graham Parker on the reasoning behind Manchester’s presence at this year’s biennale.

Roxane Permar describes setting up a new artists’ membership group in Shetland.

The first in a six-part series ‘Navigating places’, Jane Watt profiles the River Commissions project, a series of temporary works along the River Hull corridor.

Gillian Nicol explores the gap between the expectations of artists and others of ‘alternative’ activity.

Artist Chloe Steele reports on her research trip to China, a country powering itself into the next generation as a major economic player. With a changing political make-up and growing middle class, China is establishing itself as a key player in the international art world.

This year’s Venice Biennale sees the first separate national presentations from Wales and Scotland. Gordon Dalton and Graham Ramsay preview the two country’s contributions.

Emilia Telese on ArtSway’s residency programme.

Dany Louise reports on the Urban Ecologies seminar in Liverpool, and highlights recent projects which have successfully engaged with urban issues whilst balancing artistic aims and community involvement.

Alicia Miller considers the relationship between artist and curator in collaborative projects.

Simon Webb talks to artists from across the UK about drawing and its place within their practice

Lars Bang Larsen’s discussion of visual art extends beyond new sites and contexts to ask questions of how art meets the idealogical spaces of politics and mass media – and how behaviour has become aesthetic.

Illustrating the approach she brings to her new role at [a-n], Gillian Nicol highlights some of the challenges and opportunities for artists and their practice today, looking broadly at education and employment, status and lifestyle and the impact of widening access to technology.

Penelope Curtis explores how ‘installation art’ has affected our readings of art, artists and curators.

Heather Rigg reports on a professional development scheme in Suffolk that provides a package of support for artists in that region.

New Delhi isn’t an obvious destination for visual arts practitioners. However, as Judith Staines discovered, scratch the surface and a more interesting picture starts to emerge.

“Imagine an ecological city, where communities are based on voluntary cooperation not competition, mutual aid not private profit, cultural diversity not globalised monoculture, permaculture not consumer culture”.¹

Working internationally, and how this informs an individual artist’s practice, need not only be about physical travel. Gavin Wade and Aleksandra Mir give personal assessments of their involvement in two different projects. Both projects are ongoing, constantly evolving, and involve a process of research and collaboration with individuals and organisations from different countries. The results of this methodology – the surrendering of a degree of individual authorship – influences the physical manifestation of each artist’s final work.

Brigid Howarth investigates the multifaceted business of buying and selling in the corporate art market.

Jose Ferreira introduces us to artists’ imaginative use of technology and its relationship to urban space.