What is an artist-curator? What makes a good collaborative partnership between a curator and an artist? What financial, practical and critical support is available to curators? Do you work with an organisation or go it alone?
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Professional development opportunities are widely available, ranging from cash awards to advisory sessions and critical debate.
The Biennial age is the age of the illusion of free flowing global movement of thought and capital, when the success of an artist could be measured in airmiles.
A Code of Practice takes commonly-agreed principles of good practice and demonstrates why and how they should be applied.
The training-led development programmes that were the norm in artists’ professional development delivery some years ago are giving way to new projects that focus around contemporary practice and are driven by ‘real world’ situations. They recognise that being a visual […]
Kate Phillimore and Matthew de Pulford propose the jester as a vehicle for understanding playfulness, mediation, diplomacy and rebellion within curatorial practice.
Launched in October, the International Curators’ Forum website supports its aim to provide an open conceptual network around emerging issues of curatorial practice in the context of key events in the international arts calendar.
Chintan Upadhyay and Bose Krishnamachari have been voicing their concerns about Indian curatorial practice through their art projects for the last few years. Considering their arguments, JohnyML says that Indian curatorial practice is going through a phase of crisis; a phase of identity crisis.
A recent forum in Dundee addressed issues surrounding curatorial practice and the relationship between artist and curator. Rob Hunter attended and reports back.
Here, we profile a selection of courses offering postgraduate level study for artists seeking to develop their practice further within creative, supportive and critically challenging environments.
Shisha, the Manchester-based agency for contemporary South Asian crafts and visual arts has closed.
Contents include: Is collaboration different in the visual arts? Gillian Nicol reports from ‘Stronger Together’, an event held in Newcastle in June and Nick Sharp discusses IP and copyright issues that arise through collaborative practices; in Debate Kate Phillimore and […]
John Plowman unpicks a new book on collaborative practice by Nuno Sacramento and Claudia Zeiske.
One of the things that makes digital media so exciting is that they problematise many naturalised systems and spaces of communication.
A-n and Axis are launching a new programme of dynamic, practice-led discussions on hospitality, space and contemporary art making, researched and directed by artist, curator and writer Sonya Dyer. Here, she sets out her thinking for the programme.
LiangWest is a “new prototype of gallery for a new generation of artists whose artistic agendas are relevant to contemporary ideals”. For this month’s Collaborative relationships a-n Magazine Coordinator Chris Brown talks to proprietors Theresa Liang and William West and artist Prem Sahib. They discuss the importance of peer support, and describe how they negotiate their ongoing relationship and their forthcoming exhibition project ‘Boyfriend Material’
Aldo Rinaldi and Katherine Daley-Yates discuss northcabin, a programme of site-specific commissions in an unusual venue in Bristol from 2008-09.
Public artist or visual artist? Open or closed? Fee-paid or speculative? Drawn from interviews, Mark Gubb brings points of view from public art commissioners and consultants into a debate started by artists in the April issue of a-n Magazine.
Critical attitudes on how art practice is dividing or uniting local, international and global practices has been alluded to since the beginnings of modernism; in 2008 these issues remain at the forefront of response to post-modern visual culture.
It would seem that politics has taken centre stage in contemporary art.
Extracts from the Curated space online think-tank presentations and discussions.
ArtSway at the Venice Biennale, Palazzo Zenobio, 8-12 June
Commissioned by Creative Partnerships London East and curated by Manick Govinda, Artsadmin, Art for Whose Sake? looked at ways in which contemporary art, performance and live art practices engage young people, within and outside formal systems of learning. Invited speakers […]
Gordon Dalton reports on the Curating Now symposium at the Irish Museum of Modern Art hoping to find the future of curating in museums.
Paul Glinkowski looks at the experiences of John Keane and Frauke Eigen, artists who have worked in war-torn locations outside of official state sponsored programmes, and talks to Dominic Nutt of Christian Aid who worked with Keane in Israel and Palestine.