Feature - Page 29 of 32 - a-n The Artists Information Company

Gemma de Cruz gives the rundown on what’s what at the 14th London Art Fair.

Sue Jones, co-director and curator for e-2 explains the organisation’s remit to raise the profile and understanding of digital arts.

Sophie Scott reports on her experience of the different attitudes and approaches to education initiatives in the arts in the USA.

Two years ago artist Betsy Tyler Bell invited a group of English artists to live and work in her house in southern France. Participating artist Helen Ganly, describes how last summer’s project culminated in a successful month-long exhibition.

In October I visited the Sixth Art Forum Berlin as a one of ten artists exhibiting with Edinburgh’s Collective Gallery. All the artists (Beagles and Ramsay, Paul Carter, Kate Gray, Billy McCall, Lynn Lowenstein, Kirsty Whiten, Michele Naismith and James […]

The creation of small-scale saleable works is a strategy that many artists may have considered. Here, Brigid Howarth talks to two artists with successful product lines that sit alongside their main practice.

Moira Jeffrey attended ‘At the City’s Edge’ in Glasgow, a conference that amongst other things addressed ‘what artists are questioning and why’. Here, she feeds back on the projects discussed and the main debates that arose.

This ambitious artist-led project has involved seventy-five artists and resulted in over 100 artworks. Cassie Thompson visits the exhibition and talks to the project organisers.

Once again the Istanbul Biennial opened at a time of extraordinary difficulty. In 1999 the event only just survived the city’s devastating earthquake, whilst the recent backdrop was an explosive economic crisis and the imminent war in the (uncomfortably) Near East. But, as Kevin Dent reports, from this unpromising background the biennial emerged as a triumph offering the city something to celebrate and enjoy.

John Plowman profiles KÜnstlerhaus Schloss Balmoral, one of about a dozen such institutions in Germany offering residencies to international artists.

Roxy Walsh, recipient of the Abbey Award in Painting, gives an overview of her time at the British School at Rome (BSR).

A new artist-initiated event took place across Hull during September. Here, David Briers explores how the event fits into the city’s existing arts infrastructure and discusses some of the national and European links it generated.

Abigail Branagan discusses the development of this innovative platform for contemporary design and explores its value to exhibitors.

Roxane Permar considers a selection of the projects discussed at a recent conference, exploring what they tell us about current trends in public art commissioning.

Government enthusiasm for involving young people in arts activities has focused the attention of many galleries. Kate Tregaskis reports from Scotland on recent debates around programmes abroad and raises some questions about good practice.

Clive Gillman, currently the lead artist for FACT explains how the organisation works to support and promote artists using new and emerging media tools.

Rick Faulkner, artist and director of Chrysalis Arts, outlines the international ‘Artists in Transition’ project and how it adapted to the change in circumstances imposed by the outbreak of Foot and Mouth.

Brigid Howarth takes a look at artists’ communities in the USA.

The UK’s seen a noticeable increase in professional development schemes for artists, encompassing training, mentoring, networking and information services. There is an obvious cross-reference to the government’s endorsement of ‘lifelong learning’ as a principle, encouraged through the offer of individual learning accounts for all. These moves increase opportunities for the kinds of artistic development that incorporates developing and honing skills, accessing facilities and ultimately furthering career strategies. The results are more than just CV embellishment. By providing points of crossover between artists, such schemes contribute to peer support systems and help to address the potential isolation of artists. Here, three individuals involved in artists’ professional development matters describe some of the resources around, and discuss how artists are making the most of them.

Clark Dawson met the Glasgow-based creators of this artists’ book to find out the intentions behind it.

The trust’s coordinator Leila Dawney explains the organisation’s artist-led ethos and its work to support the arts in Birmingham.

Louise Coysh visited ‘Fresh Art’ at the Business Design Centre, London to find out how the fair met with the exhibiting artists’ expectations.

There is a long history of placing contemporary art in remote and rural locations as a method of encouraging tourism. The sculpture trail is now an established form of presentation. Here, Victoria Bernie – an artist based in Edinburgh – describes her participation in a small-scale project in Sweden and Public Art Officer Piers Masterson gives his view on the history and public reception of a much larger project spread across northern Norway.

A regular visitor to Italy since 1981, when Alan Rogers moved there on a more permanent basis his “youthful, romantic love affair” with its warm Mediterranean light was soon replaced by the realisation that day-to-day conditions for contemporary artists were far from ideal.