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Felicity Shilingford discusses collaboration and networking within her practice.

Yuen Fong Ling on shifting Identities in Hong Kong

A-n’s commissioned research into rates of pay.

In March, AIR – Artists Interaction and Representation – put its weight behind calls for art education to be accessible to all, following a survey in which 95% of its members gave hearty support to the view that art education should be accessible “irrespective of background and financial status”. Here we outline AIR’s campaign and the survey’s key findings to provide evidence for artists to use.

Commentary arising from research into local authority arts organisers’ needs, aspirations and modus operandi, revealing how they value and engage with artists and the approaches they take to their own professional development and to supporting the environment for contemporary visual arts.

Consideration for the environment along with building community engagement feature within some recent projects organised in Yorkshire, Scotland, Wales Northumberland and Derbyshire.

Lauren Healey discusses Gallery Glue’s relationship to NAN.

The continual shaving of UK arts budgets, cuts in mainstream grants programmes linked with escalating overheads and news of an ever-deepening economic downturn aren’t good news for visual artists who depend largely on winning freelance contracts and getting good responses to their project proposals.

Gordon Dalton reports on the Curating Now symposium at the Irish Museum of Modern Art hoping to find the future of curating in museums.

A-n Director of Programmes Susan Jones reviews artists’ jobs and opportunities over the years.

As part of the NAN initiative, artists from North East England visited Glasgow. Here Alison Unsworth and David Stamp give an overview of their experiences.

Jeni Walwin, investigates Blast Theory an innovative, yet pragmatic artist-led company that’s proving to be inspiration for many artists working in performance and new media.

Sophie Scott reports on her experience of the different attitudes and approaches to education initiatives in the arts in the USA.

The UK’s seen a noticeable increase in professional development schemes for artists, encompassing training, mentoring, networking and information services. There is an obvious cross-reference to the government’s endorsement of ‘lifelong learning’ as a principle, encouraged through the offer of individual learning accounts for all. These moves increase opportunities for the kinds of artistic development that incorporates developing and honing skills, accessing facilities and ultimately furthering career strategies. The results are more than just CV embellishment. By providing points of crossover between artists, such schemes contribute to peer support systems and help to address the potential isolation of artists. Here, three individuals involved in artists’ professional development matters describe some of the resources around, and discuss how artists are making the most of them.