In a world increasingly skewed by notions of commodity and markets, artists and creative practitioners must be proactive in seeking out opportunities that enable them to experiment and take the risks that will drive up the quality of their work.
HTML version of Community engagement in which Catherine Wilson explores the myriad ways artists can engage with specific communities via residencies, collaborations, cross-cultural projects and research.
Launching September 2008, Creative Graduates – Creative Futures is the largest-ever study of the career patterns of graduates from UK courses in art, design, craft and media.
Kai-Oi Jay Yung speaks to Guyan Porter about his residency at Chandrasevana Creation Centre in Sri Lanka.
Catherine Wilson addresses three collaborative projects by Rio de Janeiro-based Mauricio Dias and Walter Riedweg who develop works with communities and social groups often on the edges of mainstream society.
Emilia Telese explores peer review funding for the arts within a holistic art and social environment.
Andrew Bryant delves into the student blogs on Degrees unedited and provides insights and analysis into what they reveal.
Professional development opportunities are widely available, ranging from cash awards to advisory sessions and critical debate.
Although it is sometimes considered that having an individual studio space is the aspiration of artists, for those who need to use expensive specialist equipment for a limited or specific period, gaining access to a workshop facility with technical support to hand is sometimes the better option.
Since November 2006, Arts Council England has been asking all across the land to add their views on the public value of the arts.
One of the main tendencies in public space has been to minimise risk – providing mini-cities in which risk has been all but removed.
Twelve leading artists and writers are included in a new book addressing the creative process in contemporary performing arts.
“The UK’s leading information and advocacy organisation for artists and their collaborators”, a-n, a newsletter and ‘artists information company’, has become so grossly over laden with the argot of management consultancy.
As a former teacher now working for the past five years as a gallery educator and also a freelance artist I have been interested to follow the a-n proposals on artists’ fees.
This is a response to John Boshoff’s letter in August.
Artists comment on the Arts Council’s Turning Point Strategy.
In order to ensure their fees keep track with their level of experience and the general rate of increases in costs of living and overheads, September’s a good time for artists to review their approaches to budgeting and charging.
Jane Watt outlines the core strengths of NAN and looks to the future.
Paul Matosic’s letter (June issue) raises important issues for all artists for whom operating professionally is vital.
A Code of Practice takes commonly-agreed principles of good practice and demonstrates why and how they should be applied.
Artist’s motivations when working in the public realm.
Mike Stubbs examines some issues facing artists.
In November, some forty representatives of directors, visual artists and writers from thirteen European countries met in Amsterdam for a conference organised by EURO-MEI.
David Lammy MP, Minister of Culture, on the challenges facing visual artists.
I attended the Junst event in Rotterdam, advertised in a-n last month, and thought you might like feedback: The exhibition was full, and what struck me at first was the vitality and variety of the 500 exhibitors’ work. It was […]
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