“Imagine an ecological city, where communities are based on voluntary cooperation not competition, mutual aid not private profit, cultural diversity not globalised monoculture, permaculture not consumer culture”.1
Diana Yeh discusses some of the issues raised by Erika Tan in her keynote speech at the Connecting Flights conference.
Jose Ferreira introduces us to artists’ imaginative use of technology and its relationship to urban space.
With a solo show currently at the Courtauld Institute, Conrad Atkinson talks to Sue Hubbard about the evolution of his career – a practice rooted equally in the political and the personal.
David Jeffreys looks at the issue of arts funding and considers whether there’s a catch to the expansion of public spending.
Sally O’Reilly pursues the free-for-all ethos of gaming.
Pete Clarke looks back at how the 1999 Biennial in Liverpool, flaws and all, raised some interesting questions that resulted in a new direction for the 2002 event and the shape of things to come.
In the first of a six-part series ‘Inhabited spaces’, Alice Angus presents artists’ perspectives on language and its relationship to place.
Lucy Wilson takes a look at some of the glass and ceramic artwork being made and exhibited currently.
Angharad Pearce Jones reports on the relationship between Welsh artists and musicians, and the creation of Capsule, a new visual arts venture that celebrates this creative crossover.
Neil Zakiewicz investigates the internet’s renowned promotional capabilities looking at the way a variety of artists are using their websites. For those who haven’t yet ventured into the virtual realm a twenty-minute strategy on where to start is offered.
Lucy Byatt discusses some of the issues around notions of ‘engaged practice’.
Rosemary Shirley explores ways artists are working in or with remote locations and how new technologies are being employed.
Lucy Kimbell explores some of the ways that artists are immersing themselves in business culture.
A recent forum in Dundee addressed issues surrounding curatorial practice and the relationship between artist and curator. Rob Hunter attended and reports back.
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.
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.
The argument about how to restructure the arts funding system in England has turned into a power struggle between the Arts Council of England (ACE) and English regional arts boards (RABs): the centre and the regions. Undermining the process is […]
In the last feature in this series, the focus is on artist Anatoly Osmolovsky living and working in Moscow.
Kate Tregaskis discusses recent seminars exploring education work involving artists and the effect this has on artists’ practice.
Artist/writer Emma Safe examines the role of community arts in urban regeneration and in creating social cohesion.
Roy Exley charts the purpose of paint in the work of four artists.
Mark Beasley explores the common fabric between today’s permanent and temporary public art commissons.
