Feature - Page 3 of 32 - a-n The Artists Information Company

Andrew Bryant on what Projects unedited blogs tell us about artists’ practices and concerns today.

Jack Hutchinson reports from the awards ceremony of the Paul Hamlyn Foundation Awards.

Based on interviews with curators Sarah Brown and Laurence Sillars, Lara Eggleton uncovers the nature of their relationships with exhibiting artists and the processes they use in curating two high profile exhibitions with cash prizes and media attention attached.

Tereza Buskova, The King Of Lincolnshire.

Artists and designers embracing digital learning, production and distribution.

Rasmus Nilausen, The Florentine, oil on linen, 65x54cm, 2011.

Highlighting just some of the festivals, events and exhibitions taking place across the North of England this season.

This month sees the culmination of a two-year project at Siobhan Davies Dance, one of the country’s most distinctive dance companies. Choreographer Davies has paired dance artists with visual and applied artists to bring their creative practices together and create new works ranging from performance to film and installation. The commissioned dance artists are Henry Montes, Sarah Warsop, Gill Clarke and Deborah Saxon who are partnered respectively with Marcus Coates, Tracey Rowledge and Lucy Skaer. Henry Montes and Deborah Saxon have also made a piece together with Bruce Sharp. Here, three of the visual artists relate their experiences.

Andrew Bryant discusses a new series of events that take Artists talking ‘out of the virtual and into the actual’.

Jo Fairfax, 180° of Light, 2011

Is there enough funding going to individual artists and are the application processes user-friendly? These were questions a-n set out to answer in the fourth issue of what was then Artists Newsletter in 1980. Now, thirty one years later, we asked Dany Louise to do this research again, examining the current state of play for grants to individual artists as offered by Arts Council England, Arts Council of Northern Ireland, Arts Council of Wales and Creative Scotland – including comparators of volumes of artists applying and success rates – and to ascertain whether a “fair share” has been getting into the hands of artists to develop their practice.

In her report on Turning Point, Phyllida Shaw unwraps the ‘what’s what and who’s who’ of this major strategy for England, to support discussions on greater participation by, and development for, artists within it.

James Rigler, Chatsworth Table, ceramic, marble, wood, steel, gold leaf, rope, 2011. Courtesy: Chatsworth House

News and updates on AIR’s strategies and activities designed to support professional artists within their practice and working lives.

Konrad Wyrebek, Olivia Palermo and her boyfriend Johannes Huebl, oil and acrylic on canvas, 120x90cm, 2011.

A selection of projects, residencies and exhibitions taking place outside the big cities this autumn.

Elizabeth Wewiora looks at allotment-based practice among contemporary artists.

Online editor Richard Taylor interviews artists Maria Bojanowska, Sarah Rowles, Alice Ladenburg and Andrew Maclean about their approach to professional development in the early stages of a career in the arts.

Current professional development support schemes for visual artists in the UK.

In 2010 artist Jo Berry embarked on a period of research within the School of Biomedical Sciences at Nottingham University Medical School, alongside Tim Self and Dr Nicholas Holliday. Here they recount the experience of an artist working in a ‘live’ scientific research environment, and the ways that the two disciplines of art and science can benefit each other to a wider audience.

Arron Kuiper, Box 8, oil paint, aquagel, glass vitrine, 2011.

Highlights from this year’s degree show reviews.

Held in June, ‘Stronger together’ was an opportunity to ‘celebrate and question how we work together’ – exploring collaboration in its many forms – and how vital that is to the survival of the arts.

Artists David Hood and Seainin Passi introduce their ongoing collaborative practice Community Facility, and reflect on a legacy of nine years’ work and the subtleties of engagement that have emerged.