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A selection of projects that focus on the development of artists’ practice and their engagement with local communities.

A topical round-up of projects that focus on development of artists’ practice and their engagement with people.

Over the course of four years, artists, curators and writers were invited to select blogs from the a-n site. Their choices highlights the range and depth of practice discussed on a-n’s artists’ blogging platform at that time.

A round-up of projects that explore approaches to making and siting art beyond conventional white cube spaces – from travelling fairgrounds and riverboat processions to site-responsive installations and public sculpture.

Profiling two education programmes that provide a variety of entry points to artistic practice and encourage audience participation via tours, symposia, courses and workshops as well as performances and events.

In April 2010 six young people from North Glasgow were given the unique opportunity to explore life in a completely different way and to interpret what they saw using photography within contemporary art.

Adam James, The Booger Dance

Access to professional development is vital to artists’ careers, so here’s something we think will help.

Townley and Bradby have an ongoing collaborative practice. They also have two children. Here they discuss how they used an investigative project to allow their art practice and their parental commitments to inform one another, rather than remaining distinct entities. However, this feature does not look at the existing collaboration between the duo, it looks at the working relationship they initiated with a psychologist who specialises in families.

From subsidised studio and accommodation to one-on-one mentoring sessions, here we spotlight a selection of residencies that provide support to artists across the UK and beyond.

Exhibition, residency and bursary opportunities for artists across the UK and beyond.

Ruth Ben-Tovim and Anne-Marie Culhane discuss two collaborative projects that focus on exchange, community and participation.

Artists and designers embracing digital learning, production and distribution.

Is there enough funding going to individual artists and are the application processes user-friendly? These were questions a-n set out to answer in the fourth issue of what was then Artists Newsletter in 1980. Now, thirty one years later, we asked Dany Louise to do this research again, examining the current state of play for grants to individual artists as offered by Arts Council England, Arts Council of Northern Ireland, Arts Council of Wales and Creative Scotland – including comparators of volumes of artists applying and success rates – and to ascertain whether a “fair share” has been getting into the hands of artists to develop their practice.

News and updates on AIR’s strategies and activities designed to support professional artists within their practice and working lives.

A selection of projects, residencies and exhibitions taking place outside the big cities this autumn.

Elizabeth Wewiora looks at allotment-based practice among contemporary artists.

Current professional development support schemes for visual artists in the UK.

Phoebe Cummings, Flora, detail from the floor of the residency studio, Victoria & Albert Museum, unfired clay, 2010. Photo: Sylvain Deleu

A look at current projects and commissions taking place in unconventional settings.

Ben Ashton, At Home with the Ashtons (detail), oil on board, wooden structural installation and mirror, 2011.

Launched in March, Creative Scotland’s first corporate plan presented an ambitious vision for the nation’s arts, culture and creative industries. This is backed by core Treasury financing of £35.5m with £14.5m of Scottish Government funds for specific initiatives, unspent reserves from the interim between Scottish Arts Council/Scottish Screen and Creative Scotland, some lottery funding back after diversion to the Olympics and reduced overheads due the merger that included a 30% staff cut.

The weeks and months after graduation can be a daunting time. After three years or more of support and guidance suddenly it’s time to go it alone. There are many different ways to pursue your career as a professional artist and no two people will follow the same path. Here, four recent art graduates describe their journeys: from joining a peer-led network to working as an artist’s assistant, they each have a different story to tell.