Sally O’Reilly’s contribution to ten two zero zero five, a-n Collections.
Live Art - Page 4 of 4 - a-n The Artists Information Company
ARC: Artists Resource Centre at Aspex Gallery, Portsmouth, is to launch ARC+ scheme this month. Through a programme of surgeries, seminars, critique groups and access to practical information and research facilities over the last two years, ARC has developed a […]
The East of England is the focus for two new major visual arts celebrations in July. At The Old Church in Rishangles, Suffolk, Laura Godfrey-Isaacs of Home presents the St Margaret Church Ale Performance Festival. Set in the inspiring historical […]
Two hundred years ago a tragedy was enacted in Scotland, the memory whereof has been in great measure lost or obscured by the deep tragedies which followed it.
Alice Maude-Roxby on photographing Michael Stevensons Rakit.
“I’m drifting far out in space with Michael Jackson’s face, and all I want to do is get back home.”
Working with live performance, video, text and object, my practice is an investigation of liveness, mediation, desire and duration.
Since I left art school in 1990, I have been creating work across art forms and for exhibitions.
Jeni Walwin, investigates Blast Theory an innovative, yet pragmatic artist-led company that’s proving to be inspiration for many artists working in performance and new media.
I have been working on an ongoing video series – Interludes – since 1997.
David Butler discusses live art support structures and their relevance to other arts sectors.
The UK’s seen a noticeable increase in professional development schemes for artists, encompassing training, mentoring, networking and information services. There is an obvious cross-reference to the government’s endorsement of ‘lifelong learning’ as a principle, encouraged through the offer of individual learning accounts for all. These moves increase opportunities for the kinds of artistic development that incorporates developing and honing skills, accessing facilities and ultimately furthering career strategies. The results are more than just CV embellishment. By providing points of crossover between artists, such schemes contribute to peer support systems and help to address the potential isolation of artists. Here, three individuals involved in artists’ professional development matters describe some of the resources around, and discuss how artists are making the most of them.