Stephen Foster, director of John Hansard Gallery, critiques the leadership role and explains how project funding leads to a loss of distinctiveness in the nations’ public galleries.
Research - Page 11 of 12 - a-n The Artists Information Company
Iain Biggs describes the resistance that has arisen as art-based research carves a place for itself in higher education in the form of PhDs and professional doctorates in fine art. Part of the engage 18 research range of articles.
Independent sectoral review of the visual arts commissioned by Arts Council England.
Literature review summary and “thinkpiece” on impact of culture and sports participation on individual quality of life and well-being. Substantial report from the Scottish Research Executive in 2005.
Data on employment conditions and diversity in contemporary visual arts organisations, with comparators to theatre, broadcasting and media, and visual arts in Germany. Published 2005.
Part of the 2005-06 Future forecast series, marking a-n’s 25th anniversary, Curated space looks at strategies and interventions within artist-curator practice.
Asks what distinctive, demonstrable economic role do archives, libraries and museums play in a growing world city whose competitive future depends on building a high-productivity, high-value economy which is fair, inclusive and sustainable?
Part of the 2005-06 Future forecast series, marking a-n’s 25th anniversary, Social space addresses dynamics and divergences within artists’ practice in the social realm.
Explores impact of artists working in educational settings through arts-based interventions organised in what were education action zones of Bristol and Corby, pre Creative Partnerships.
Part of a-n’s 2005-06 Future forecast series, marking its 25th anniversary, Future space addresses the future roles and functions of artists’ workspace.
A proposed arts and cultural sector response to the new Rural Strategy.
This report examines how young people on Detention and Training Orders could access, participate and progress in the arts. Researched by Nottingham Trent University, and published by Arts Council England in 2005, this is part of the body of research exploring the role of arts within New Labour Social Inclusion policy.
Provides sample historical rates of pay for artists from a range of organisations and compares artists’ rates with those of arts managers.
Regional report mapping the creative industries sector in Devon and Torbay, and making recommendations for its support and growth.
The first survey of its kind, intended to provide the beginning of a national register of artists’ studio groups and organisations.
2005 report on the working environment of West Midlands designer makers, craftspeople and applied artists at different stages of their careers. It was undertaken to explore activity, identify needs and gaps in provision of professional development support.
Profile of the shared workspaces and related services used by visual artists and craftspeople in the Yorkshire and Humberside region in 2005.
Strengthens the evidence base for the effectiveness of the arts within criminal justice by providing a clear account of evidence and theory base for the sector as of 2005; includes visual arts and film section.
Associated with the Visual Intelligence project at Lancaster University, asks whether it is possible to chart the evolution of an artist’s creative thought through their making processes.
Assessment of Museums, Libraries and Archives’ contribution to key social policy targets including regeneration, health and cultural diversity.
The economic and social impact of cultural festivals in the East Midlands of England in 2002.
Key findings from 2003 audience research document, commissioned by ACE from the Office of National Statistics
In 2004, a-n commissioned a team from University of Newcastle to undertake research into context, attitudes and approaches to paying artists for their skills and services.
Quality indicators and advice for planning, commissioning and delivery.
In Part 1, Paul Glinkowski talks to Angela Weight, Keeper of Art at the Imperial War Museum, and to some of the artists she has commissioned. In Part 2, he looks at the experiences of two artists who choose to work in conflict zones without the backing or safety net of state patronage.