I was interested to read Dominic Thomas’ article ‘Critical Contexts’ (a-n February) and wholeheartedly agree with his view that “many [professional development] schemes seem unable or unwilling to tackle the issue of the actual product of an artist’s labours”. ETA […]
Projects and collaborations rarely spring into existence fully formed. Hilary Williams examines a short project that developed into a major programme, led to the setting up of a new arts business, and to jeweller Mah Rana uncovering new tracts of material and experience.
A-n Director of Programmes Susan Jones reviews artists’ jobs and opportunities over the years.
Extensive research last year by Morris Hargreaves McIntyre revealed an extensive but as yet untapped market for art sales in England. However, by exploring notions of who and what ‘legitimises’ contemporary visual arts, Taste buds: how to cultivate the art […]
Paul Stone examines some of the issues arising from the a-n event in June.
Iliyana Nedkova responds to the networking themes that arose at Amorphous combustion, part of a body of specially commissioned writing published now on www.a-n.co.uk
Kaavous Clayton reports from the InFest: International Artist-Run Culture conference in Vancouver, Canada.
Winners of the decibel visual arts awards, aimed at black and Asian artists, and curators, were announced in March.
Paul Glinkowski profiles the work of Paul Bonaventura, co-founder of The Laboratory, the research wing of the Ruskin School of Drawing and Fine Art at the University of Oxford, in the fifth article of the ‘Crossing over’ series.
Gillian Nicol reports on Montreal’s vibrant artist-run sector.
Mike Stubbs reports from The Next Five Minutes International Festival of Tactical Media in Amsterdam.
Deborah Smith unpicks the notion of collaborative practice in the work of the artist, writer and curator David A Bailey, the third article in the ‘Crossing over’ series.
Rosemary Shirley visits Reading-based gallery and studio complex Open Hand Open Space and discovers what makes the organisation tick.
In the second of the ‘Crossing over’ series, Nina Madden meets Kirsty Ogg, Director of London-based organisation The Showroom.
Chris Noraika discusses the pros and cons of working outside
of the commercial gallery stable system.
Curatorial partnership B+B talk about their residency at the Austrian Cultural Forum in London.
Down town Regardless of your artistic persuasion the New York art scene is probably the most seductive in the world, with the possibility of wealth and influence promised by the American art dream. As someone whose artistic and curatorial interests […]
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.
Since 29 January, London’s Chisenhale Gallery has been transformed into a fully functioning employment agency, one that caters only for spare time positions. Ella Gibbs’ project is a new commission for Chisenhale and is based on a standard job centre, […]
Penelope Curtis explores how ‘installation art’ has affected our readings of art, artists and curators.
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.
Peckham’s Whitten Timber Yard is the current home for Area 10, a non-hierarchical artist-led group with experimentation, communication and collaboration at its core.
Site-specificity and community involvement might be buzzwords for attracting funding bodies, but they are no guarantee of project success. Emma Safe visited Swansea for this year’s Locws2 to find out how they tackled some of the issues.
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.
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