Artists Bruce Gilchrist and Jo Joelson and curator Emma Underhill discuss their collaboration on a project to create a sculptural ‘habitat’ that will contribute to the life cycle of birds in two urban garden locations.
Curatorial Practice - Page 2 of 5 - a-n The Artists Information Company
The annual Craft Curators Forum, a networking and discussion event from the Crafts Council, was held in London 23-24 September.
Led by the PITT artist-led space and Worcestershire Contemporary Artists in partnership with the main Worcester City Gallery, The Worcester Open 2010 Contemporary Art project is organised for artists by artists.
In spring 2010 Spacex invited three UK-based artists to develop new work in response to Exeter’s West Quarter, where the gallery is located. The artists facilitated collaborative encounters and conversations with local residents. Amy Feneck interviewed people about the notion of ‘independent spirit’ in order to develop a script for a new film, Epilogue. Operating from her mobile portraiture studio, Lady Lucy documented encounters in her paintings ‘The Court Portraits’. Volkhardt Müller worked with people to create a series of performed actions on video. Majorette Rehearsing centered around the idea of the majorette as a West Quarter archetype; a paradoxical figure of individual aspiration, community celebration and carnival. For this feature, Volkhardt Müller reflects on his project with Spacex Project Coordinator, Martha Crean.
Managed by Art Projects and Solutions, Forming Ideas is a curatorial development programme that aims to broaden and stimulate debate around contemporary craft practice for curators working across England in art galleries, museums and independently.
A one-day symposium in April developed by In Certain Places is aimed at urban planners, artists, public art commissioners, architects, urban designers and people with an interest in the future of cities.
Aldo Rinaldi and Katherine Daley-Yates discuss northcabin, a programme of site-specific commissions in an unusual venue in Bristol from 2008-09.
Artists and curators relate methods of navigating a self-directed exhibiting career.
Dan Thompson from The Revolutionary Arts Group reveals how artists are once again making use of empty spaces as a means to kick-start both the cultural and economic well being of town centres, and suggests seven steps to enable this area of practice to flourish.
Curator Matt Roberts talks to Jane Watt about how and why he set up the London-based organisation Matt Roberts Arts and the importance of providing support and a platform for emerging and mid-career artists, curators and arts professionals.
What is an artist-curator? What makes a good collaborative partnership between a curator and an artist? What financial, practical and critical support is available to curators? Do you work with an organisation or go it alone?
Contemporary Art Society’s latest initiative, the Annual Award for Museums, will provide
An overview of curatorial practice, highlights profiles and other resources on this topic.
Rachel Garfield explains how a desire to critique dominant models of the mainstream informs her curatorial practice.
Shezad Dawood discusses how he see curation as an opportunity to explore the interplay between his own work and that of other artists.
Simon Tegala tells how he needs to adopt many different roles to realise the production of his curatorial projects.
The Centre of Attention (Pierre Coinde and Gary O’Dwyer) reveal their approach to ‘participatory curating’.
Mark Wilsher talks about combining the roles of artist and curator in his own practice.
Growth of independent curators and curatorial agencies within the UK over the last decade is no accident. Generated in part as a response to inherent constraints within the traditional gallery and museum world and development of specialist curatorial courses, it has undeniably brought fresh perspectives to artist-curator relationships and, increasingly, supports those practitioners seeking to move across into curation as a natural extension of their visual arts practice.
Emily Druiff and Sophie Hope discuss independent practice in relation self-initiated curator and artist-led projects.
David A Bailey talks about how his socially-informed work has led him to curate projects that set it within a wider (art) historical context.
Erica Tan describes her career as requiring her to undertake different roles, of which ‘artist’ and ‘curator’ are only two of many.
Gavin Wade talks about his role as a ‘professional curator’ working outside of an institution.
Jananne Al-Ani describes how her experiences as an artist have informed her development of curatorial projects.
Anne Bean argues that ‘artists who curate’ should lead their own agenda.