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6 December 2011. 3331 Chiyoda, Tokyo. Edited transcript of recorded interview.
As part of Joshua Sofaer’s Artist as Leader research, Masato Nakamura discusses his commitment to transforming the art education system in Japan, and the inauguration of a new model of art centre “founded on the basis of artist leadership”.

17 February 2012. The Museum of Jurassic Technology, Los Angeles. Recording Time: 39 minutes.
As part of his Artist as Leader research, Joshua Sofaer talks to David Wilson, the Director of The Museum of Jurassic Technology in Los Angeles, about the “grey areas” and “inspiration as a form of leading”.

31 January 2012. Soho, London. Recording Time: 56 minutes
As part of Joshua Sofaer’s Artist as Leader research, Kate Love, Senior Lecturer at Central Saint Martins College of Art & Design, interrogates the idea of the ‘artist as leader’ by considering both the meaning and use of the phrase: “If you are allied to the left you are far more likely to be sceptical of the idea of leadership.”

28 December 2011. Soho, London. Recording Time: 50 minutes.
As part of Joshua Sofaer’s Artist as Leader research, artist Richard Layzell and businessman Richard Hicks discuss Layzell’s 7 year tenure as ‘Visionaire’ at AIT software where he created bespoke events that addressed the problems and needs of the developing company.

16 November 2011. First Draft Gallery, Sydney. Recording Time: 36 minutes.
As part of Joshua Sofaer’s Artist as Leader research, 4 directors of Sydney based First Draft discuss how the project’s reputation for “conquering the new” has developed as its aims have shifted from supporting emerging women artists to encompass all new and emerging practitioners.

1 November 2011, Performance Space, Sydney. Recording Time: 52 minutes.
As part of Joshua Sofaer’s Artist as Leader research, 3 members of Melbourne based artists’ collective Field Theory discuss cultural leadership in relation to what they do: “In terms of what being a leader in this field [of live art] means, there is no precedent; we have to forge a path.”

1 February 2012, Shoreditch, London. Recording Time: 33 minutes.
As part of Joshua Sofaer’s Artist as Leader research, sculptor and installation artist Cornelia Parker discusses how she came to art making and her reluctance to assume the position of leader: “All my work is about undoing positions of power”.

As the Clore Leadership Programme’s first dedicated ‘Artist Fellow’, Joshua Sofaer set about exploring what ‘Artist as Leader’ might mean. Here he shares an overview of what his research revealed.

Reyahn King explores the role of galleries within professional development for visual artists. In the current climate, how can professional development for visual artists be continued and improved? This paper suggests that one answer lies in the relationship between publicly-funded regional galleries and visual artists becoming wider, deeper, and more strongly valued.

Emily Speed looks at the complex nature of making a living as an artist with reference to profiles of four artists, all based in Austria and Germany, whom she worked alongside at the Salzamt, Linz.

Anne Douglas and Chris Fremantle of On The Edge Research share insights into the Artist as Leader research programme. The research aims to understand the way artists lead through their practice with a view to informing and developing a critical […]

Chris Fremantle highlights key themes and issues around collaboration making use of a-n’s extensive archive of texts on the subject.

‘Ladders for development’ argues that the visual arts sector should pull together and support small visual arts organisations cut by Arts Council England because they “punch above their weight” and provide vital development of future artists. Six months on, Dany Louise interviews these arts organisations again, to find out how they’ve fared and what their futures hold.

Over the past five years, the words Turning Point have been read, heard, written and spoken with increasing frequency by people in the visual arts in England, but for many individual arts practitioners, in particular, the origins and activities of Turning Point remain a bit opaque.  This briefing paper is for them and for anyone interested in understanding more about what Turning Point is and does.

Evidence-based recommendations on: Identifying the ‘new practices’ model, Valuing peer networks, Redefining public accountability, Supporting location and community and New ‘brand image’ for artists.