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Louise Clements and Jonathan Willett describe Spectrum 2002, a light-infused programme of exhibitions and outreach work at Nottingham’s artist-run Lightsource.

Louise Short explains the international networks behind the participation of UK artists in this month’s Melbourne Festival.

Every summer the spotlight falls on Norwich and ‘East international’. Arguably the most prestigious open submission exhibition in the UK, curators, dealers and others visit from far and wide and many of today’s well-known artists launched their careers as a result of participation in ‘East’. But what of the artists for whom the city is home? Paul Stone visited Norwich to find out more.

Unless your work fits into the saleable object bracket, St Ives can be a difficult place to succeed as an artist. Artist/curator Andy Whall explains how Art Surgery could help.

Mark Gubb describes Derby’s newest artist-led organisation and calls for other artists to get involved.

This year will be the second ‘Fresh Art’ event at the Business Design Centre in Islington.
Here gallery director and selector Chris Noraika outlines his view on the event’s somewhat controversial status, and some artists tell us of their experiences and expectations.

For artist Emma Baird Murray, Coed Hills Rural Artspace in South Wales has become a place of inspiration, a space where making art, sustainable living and community involvement go hand in hand. She describes how the organisation works with artists in a rural setting.

G39’s Chris Brown reports on a stimulating seminar for artist-led initiatives in southwest England.

Malcolm Dickson highlights the issues around the future needs of artists’ organisations in Scotland.

Judith Staines visits Mumbai and reports on its reputation for contemporary art.

Brendan Fletcher takes a look at how artist-led initiatives, and the Manchester galleries’ willingness to listen have helped shape the current changes in the Manchester art scene.

Work & Leisure International partners – Paulette Terry Brien and Laurence Lane – describe how their organisation has evolved over ten years of working together and with artists.

Hull-based artist Lorna Moore profiles the artscene in the Canadian city of Halifax.

Moira Jeffrey visits the Scottish Highlands and Islands to see how a bid for European Capital of Culture is affecting artists and art organisations.

Sunil Gupta, curator with OVA, explains how the organisation promotes cultural diversity in contemporary art.

A recent forum in Dundee addressed issues surrounding curatorial practice and the relationship between artist and curator. Rob Hunter attended and reports back.

This ambitious artist-led project has involved seventy-five artists and resulted in over 100 artworks. Cassie Thompson visits the exhibition and talks to the project organisers.

Once again the Istanbul Biennial opened at a time of extraordinary difficulty. In 1999 the event only just survived the city’s devastating earthquake, whilst the recent backdrop was an explosive economic crisis and the imminent war in the (uncomfortably) Near East. But, as Kevin Dent reports, from this unpromising background the biennial emerged as a triumph offering the city something to celebrate and enjoy.

A new artist-initiated event took place across Hull during September. Here, David Briers explores how the event fits into the city’s existing arts infrastructure and discusses some of the national and European links it generated.

Clive Gillman, currently the lead artist for FACT explains how the organisation works to support and promote artists using new and emerging media tools.

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.