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Jen Wu
American artist and curator Jen Wu lives and works in London, and is currently an Inspire Curatorial Fellow at the Institute of Contemporary Art, London.
Curatorial Practice - Page 4 of 5 - a-n The Artists Information Company
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Vane
S Mark Gubb talks to Vane about its evolution from an artist-led platform in Newcastle to an artists’ agency operating internationally.
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Mary Mary
S Mark Gubb talks to Glasgow’s Mary, Mary about their transformation from artist-led project space to commercial gallery.
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Sue Cohen
Lee Simmons on Sue Cohen’s practice as an artist/curator and her focus on bringing art into the public sphere.
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Indra Khanna
Sara Haq on Indra Khanna, curator at Autograph, her career progress and independent projects.
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Emily Druiff
Lee Simmons talks to Emily Druiff about her curatorial practice, partnership working and her shift from artist to curator.
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Shaheen Merali
Yvette Mutumba on Shaheen Merali – artist, curator, researcher, writer, observer and globetrotter.
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Discussion
Curating in crisis
Chintan Upadhyay and Bose Krishnamachari have been voicing their concerns about Indian curatorial practice through their art projects for the last few years. Considering their arguments, JohnyML says that Indian curatorial practice is going through a phase of crisis; a phase of identity crisis.
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Radical positions
It would seem that politics has taken centre stage in contemporary art.
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Working practice
Future forecast: Curated space
Part of the 2005-06 Future forecast series, marking a-n’s 25th anniversary, Curated space looks at strategies and interventions within artist-curator practice.
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Shifting practice
Shifting practice is the second in the a-n Collections series, published to coincide with our 25-year anniversary. Guest edited by John Beagles and Paul Stone, it takes the artist-led initiative as its starting point.
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Stanley Picker Fellowship
Paul Glinkowski talks to Mark Beasley at the start of his Fellowship at Kingston University.
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Making a difference
Catherine Wilson profiles inIVA’s achievements over the last decade.
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Curating now
Gordon Dalton reports on the Curating Now symposium at the Irish Museum of Modern Art hoping to find the future of curating in museums.
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An academic model
Paul Glinkowski profiles the work of Paul Bonaventura, co-founder of The Laboratory, the research wing of the Ruskin School of Drawing and Fine Art at the University of Oxford, in the fifth article of the ‘Crossing over’ series.
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The new territory
Jeremy Akerman talks to curator Jeremy Millar and artists Annelies Oberdanner and Tariq Alvi and asks what curators and artists want from each other.
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Design for life
Lucy Wilson profiles the work of design curator Rachael Barraclough, the fourth article of the ‘Crossing over’ series.
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Making visible
Deborah Smith unpicks the notion of collaborative practice in the work of the artist, writer and curator David A Bailey, the third article in the ‘Crossing over’ series.
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Showing out
In the second of the ‘Crossing over’ series, Nina Madden meets Kirsty Ogg, Director of London-based organisation The Showroom.
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Collecting craft
Kate Day, curator of contemporary craft at Manchester Art Gallery, talks to Amanda Fielding about her work. First in a new six-part series ‘Crossing over’ focusing on arts professionals and how they work with artists.
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Production values
Alicia Miller considers the relationship between artist and curator in collaborative projects.
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Old spaces for new art
Penelope Curtis explores how ‘installation art’ has affected our readings of art, artists and curators.
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Climb every mountain
Bruce Haines describes the organisational processes involved in his role as one of the curators and organisers of an international exhibition.
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Beyond borders
Working internationally, and how this informs an individual artist’s practice, need not only be about physical travel. Gavin Wade and Aleksandra Mir give personal assessments of their involvement in two different projects. Both projects are ongoing, constantly evolving, and involve a process of research and collaboration with individuals and organisations from different countries. The results of this methodology – the surrendering of a degree of individual authorship – influences the physical manifestation of each artist’s final work.
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FAIR
Organised by twelve second-year students on the Royal College of Art’s MA in Curating Contemporary Art, FAIR was something of a hybrid between an exhibition and an international art fair. Max Andrews reports on this pioneering project and profiles some of the participants.