This event will explore how collaboration has been adopted tactically and creatively as a means of responding to the climate change crisis.
higher education - a-n The Artists Information Company
Dr Edwina fitzPatrick, course leader of the MFA Fine Art course at Wimbledon College of Arts, offers advice and explores the key issues to consider when selecting and applying to a postgraduate course.
This year’s just-published guide includes an extensive interview with London-based artist Larry Achiampong – a graduate of the University of Westminster and Slade School of Fine Art – plus insights from graduating students, lecturers and visual art professionals.
The Scottish Parliament’s Culture Committee report questions the role of Glasgow School of Art as custodians of the Mackintosh Building, but the art school disputes the accuracy of some of its points.
Middlesbrough Institute of Modern Art (MIMA) is to host Teesside University’s fine art courses with the creation of the MIMA School of Art.
RCA’s three-strand programme will focus on ‘Places, Projects and People’, and is the most significant development in the college’s history since it was founded in 1837.
More News In Brief: Munich’s Haus der Kunst cancels exhibitions due to a “difficult financial situation stemming from management errors of the past”, plus Lawyers for New York gallerist Mary Boone ask for leniency in tax evasion case.
Professor Irene McAra-McWilliam, who has been acting as joint interim director, will initially be appointed for one year with a “full candidate search” planned.
Tom Inns, whose time as director of Glasgow School of Art has been marked by two major fires at the school’s historic Mackintosh building, has resigned.
News briefing with national and international stories, including: Charlie Schaffer becomes first artist to win the Lynn Painter-Stainers Brian Botting Prize twice, Santiago Sierra criticises decision to remove his work from Arco art fair in Madrid, and lecturers at UK art colleges join university lecturers strike over pension plans.
For the latest dispatch in our ongoing Scene Report series, artist, curator and founding director of the Coventry Biennial of Contemporary Art, Ryan Hughes, offers a snapshot of visual arts activity in the 2021 UK City of Culture.
Beginning with a move from East London to Margate, 2017 has been an eventful time for Open School East that has included becoming an Arts Council England National Portfolio Organisation in the 2018-22 funding round. With the accessibility of art education becoming an evermore vital issue for the visual arts, its co-directors look back on their first year by the sea.
The annual exhibition, which has showcased work by new and recent fine art graduates since 1949, has announced that 2018 submissions will be open to artists from non-degree awarding art education programmes.
Call for renaming of Ex-Libris Gallery to celebrate and value Newcastle’s female creative practitioners.
Continental research and perspective on the field of participatory arts, intended to enhance pedagogical practice.
A weekly briefing featuring national and international art news, including: Cost-effective studios for London artists, winner of Doug Moran prize announced, and new museums opening in France despite state budget cuts.
From community university partnerships to practice-based PhDs and tenured teaching posts, a new set of resources developed for a-n by artist Steve Pool identifies some key ways artists are working within higher education, and considers the value of such relationships to both artists and institutions.
Developed by Steve Pool, Artists working in higher education includes a guide and four profiles that explore the ways artists are currently engaging with the HE sector. This introduction highlights the diversity and value of such relationships, and offers some key tips for working in the field.
Within UK universities, visual artists are working across university departments in many different ways ranging from arts and health initiatives, residencies and cultural heritage projects to commissions, teaching and PhD research. Artist Steve Pool identifies some key ways artists are working within HE and considers the value of such relationships to both artists and institutions.
Artist Paul Evans discusses how his work became aligned to the research undertaken within universities and how his socially engaged practice has enabled academics and the public to better understand the nature of university research. Based on an interview by artist Steve Pool.
Kwong Lee of Manchester-based Castlefield Gallery discusses how the gallery works with universities in the city in to provide professional development support to students and contribute to cultural policy research, and offers his views on practice-based research and PhD programmes. Based on an interview by artist Steve Pool.
Kate Pahl, Professor of Literacies in Education at University of Sheffield, discusses what artists bring to academic research projects, and identifies some of the challenges artists and academics face when working together. Based on an interview by artist Steve Pool.
Having developed a practice based around working with people in a participatory manner, in 2015 Anthony Schrag completed a practice-based PhD exploring the relationship between artists, institutions and the public within participatory public artworks. He discusses his reasons for undertaking a PhD, and gives advice to artists considering this option. Based on an interview by artist Steve Pool.
What does it mean to be an artist and how does the romantic idea of the creative individual pursuing their passion impact on the reality of an artistic practice? At Creative Scotland’s recent Visual Arts Sector Review event in Edinburgh, Glasgow-based artist Rachel Maclean talked about this and more. Here we republish an edited extract of her provocation.
Ellie Harrison’s year-long Glasgow Effect project, which will see her only doing work within the Greater Glasgow area throughout 2016, has attracted a barrage of criticism on social media and articles in the local and national press. Chris Sharratt reports on the artist’s and project funder Creative Scotland’s response.