Artists and arts organisations had the opportunity to debate current and future professional development needs and aspirations in June as part of strategic planning by Turning Point West Midlands.
Editorial published in Artists Newsletter in June 1991.
A round-up of UK projects and presentations, official, collateral and otherwise, during the 54th International Art Exhibition of the Venice Biennale. Projects run 4 June – 27 November 2011 unless otherwise stated.
As an increasing number of publicly-funded arts organisations seek out new models and initiatives for support, Artsway is providing a valuable platform to debate and explore what already exists, raising the issue of how longer-term support of artists can be maintained and increased in a period of arts austerity.
To stand the test of time, arts organisations re-immerse themselves into their values to stay ahead and the Centre for Contemporary Arts (CCA) in Glasgow is no exception.
The Open College of the Arts (OCA) launched Europe’s first MA in Fine Art by distance learning in January.
Given the voracious and swift nature of the cuts brought in by the current government, it is unsurprising that artists are already feeling the effects.
Engage/Enquire’s ‘The Art of Influencing Change, Economies and Ecologies’ at Towner Art Gallery, Eastbourne and NALGAO’s annual conference in Brighton.
In the twenty-five years since its foundation, Castlefield Gallery has evolved, adapted and outlived many of the buzz words first used about it, but one thing has remained absolutely constant – its aim to support artists.
“It’s hard for all working mums (and dads) to find a work/life balance isn’t it – what’s so different for artists?” This was a question posed recently by a friend over dinner. I’d been banging on about APT – Artist Parents Talking – specifically about APT’s current search for funding, without stopping to think that she might not understand the basic premise of the network.
The forth and final Creative Scotland dialogue event was held at the impressively refurbished Briggait building on the banks of the River Clyde, Glasgow.
The core of the Stiwdio Safle programme is the ongoing professional development and practise of the artist and the public realm context they inhabit and respond to.
In a new Research paper commissioned for www.a-n.co.uk, Emily Speed looks at the complex nature of making a living as an artist.
New research from innovative think-tank Mission Models Money (MMM), developed through a partnership with the Cultural Leadership Programme, is exploring and developing a body of theory and practice about the competencies, qualities and attributes that will equip people working in the cultural sector to thrive in the fast changing, complex, uncertain and unpredictable operating environment.
“The challenge is to reconcile the prosperous economy with the good society”, David Lammy, September 2009.
“There is no more sombre enemy of good art than the pram in the hall” Cyril Connolly, Enemies of Promise, 1938
This month’s blog selection.
Jane Watt reports on the Brighton symposium Is Design Good For You? considering the range of projects that artists undertake in healthcare environments.
Group Process is the latest season of work to be staged by Radar, Loughborough University’s contemporary arts programme. Running into February; it involves new and adapted commissions produced by artists Lisa Cheung, Yvonne Droge Wendel, public works / myvillages.org, Parfyme and Yara El-Sherbini.
Artist-led strategies to support professional development have often proved to be the most successful.
The new developments at the Newlyn Art Gallery and The Exchange have had a mixed response from local and national media, with three main strands.
Ceramic artists Elise Austrin, Karen Atherley, Jo Davies, Akiko Hirai and Joanna London are amongst exhibitors in ‘Handmade 07’, being held at Chelsea Old Town Hall 27-30 November.
Since graduating in 1993 I have made outdoor sculpture in my studio located on a farm in Kent.
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.
Volunteer opportunities are the norm across the visual arts, often perceived as the only route for newcomers to the profession to gain the CV experience that will get them noticed and their foot on the career ladder.
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