Describes the scope and delivery of Tate’s Digital Strategy to further its mission of promoting public understanding and enjoyment of British, modern and contemporary art.
Research - Page 7 of 14 - a-n The Artists Information Company
Paper formally acknowledging the flaws in the original DCMS SIC (classification codes) and proposing improvements.
Presents brief explanations of different economic data cited for the creative industries.
Participation data for 2011-2012.
As the Clore Leadership Programme’s first dedicated Artist Fellow, Joshua Sofaer explores what ’Artist as Leader’ might mean. Overview of what his research revealed.
Conclusions from a European Commission two day conference in Oct 2012.
Paper formally acknowledging the flaws in the original DCMS SIC (classification) codes and proposing improvements.
Chris Fremantle highlights key themes and issues around collaboration making use of a-n’s extensive archive of texts on the subject, along with external references.
Provides timely overview of an under-served area, written by the same research team who reported on the impact of Creative Partnerships on pupils’ well-being.
Summary of research into international visual artists’ representation by April Britski, Director of Canadian Artists’ Representation (CARFAC).
Part of an annual series of papers analysing data about artists’ employment opportunities, patterns and incomes. Narrative compares between years and tracks changes from previous years.
Reyahn King explores the role of galleries as providers of professional development for visual artists.
Final report to CCE (Creativity, Culture Education) from Cambridge University evaluating Creative Partnerships projects.
Broad ranging review of cultural education for children in England, commissioned by the DCMS in 2012.
Department of Education response to the Henley Review, which it broadly welcomes.
Mapping and impact study of the contemporary craft sector commissioned by the Crafts Council.
a-n-commissioned research that presents information on the destination of visual arts funding across the four UK arts councils and the percentage rate of successful applications in years 2009-10 and 2008-09.
Six months on from the ‘Ladders for development’ report, Dany Louise revisits ladders organisations and reports on how they fared after the first round of coalition government cuts in 2011.
Recommendations presented to Creative Industries Council to instigate industry led proposals for addressing skills issues to boost the growth and competitiveness of the Creative Industries.
Summary of an evaluation study that was commissioned by North by NorthWest, a consortium of twelve publicly funded visual arts organisations in Lancashire and Cumbria.
Summary of key findings of the 2011 AIR artists’ advisory group and a-n survey of its 16,500 membership to better understand the conditions and concerns of artists.
Turning Point was a visual arts strategy launched by ACE in 2006. A complicated programme, a-n commissioned this briefing paper to provide clarity for visual arts practitioners and organisers.
In this 2011 report Phyllida Shaw unwraps the ‘what’s what’ and ‘who’s who’ of Turning Point, a 10-year Arts Council England strategy for the visual arts.
Economic impact assessment of the arts in Liverpool, focusing on the organisations that made up the Liverpool Arts Regeneration Consortium.