Michael Atavar talks about the ups and downs of his experience as artist-in-residence at The Guardian.
Residency - Page 26 of 28 - a-n The Artists Information Company
Su Jones explores Anna Best’s 2001 National Media residency for Year of the Artist here at a-n The Artists’ Information Company.
Lucy Kimbell outlines some issues that can arise from residencies in business settings and should be resolved in advance.
Lucy Kimbell looks at how artists and arts organisations can work with businesses and the pros and cons of such collaborations.
Andrea Ronan outlines some UK residencies including what sponsors or residency programmers may expect in return for the fees, studios, materials and accommodation on offer.
Gordon Dalton talks to Danny Rolph about creative process, gallery representation and residencies at Delfina and the British School at Rome.
Richard Cox profiles the Bemis Center for Contemporary Arts, USA, and discusses his involvement as both resident artist and selector.
Jane Watt profiles Grizedale Arts, its residency programme and focus on research and process-based work that encourages interaction with the physical and social environment.
Amanda Fielding looks at the activities of Johanne Mills and provides insights into the versatility of the contemporary artist.
Brigid Howarth takes an in-depth look at the career path of sculptor and new-media artist Ben Coode-Adams, who makes his living from public and private commissions.
Angharad Pearce Jones explores the sprawling career of Tessa Fitzjohn, providing an insight into her successful work/life balance.
Jeni Walwin on the artistic achievements of Blast Theory, an internationally renowned artists’ group creating groundbreaking new forms of performance and interactive art that mixes audiences across the internet, live performance and digital broadcasting.
Chris Hammonds looks into Scott Myles practice and discusses how he has worked on self-initiated projects, developed work through residencies, and benefitted from commercial representation.
Heather Rigg profiles Next Move, a national professional development scheme which aims to launch the careers of applied artists.
Carolyn Black’s first time working away from her home and studio was a UNESCO funded residency in Java, Indonesia.
Paul Edwards describes how residencies provide him with the opportunity to concentrate wholly on his practice.
New Delhi isn’t an obvious destination for visual arts practitioners. However, as Judith Staines discovered, scratch the surface and a more interesting picture starts to emerge.
Claudia Zeiske brings to our attention a new artist-in-residence programme in north east Scotland, supported by the Glenfiddich Distillery.
Simon Collison made his first visit to Iceland in summer 1998 as a guest artist at Straumur Art Commune. He had read about Straumur, some five miles from Reykjavik, in the catalogue for ‘New Territories’, a touring exhibition born out of an exchange programme, instigated by Stamford Arts Centre and featured in [a-n] MAGAZINE in 1997.
Susan MacWilliam reports on her residency at Caribbean Contemporary Arts (CCA), Trinidad.
Jacqueline Moon reports on how she developed her interest in the architecture of cities through travelling from her home town of Glasgow, to Barcelona.
“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
On the West Coast of America, Harrell Fletcher is making history not in the grandiose sense, but through an approach to art-making that brings out individual voices and stories.
Valerie Coffin Price reports from Est-Nord-Est, an artist-led centre in Quebec, Canada.
Neil Zakiewicz profiles the Triangle Arts Trust, celebrating its twentieth anniversary this year.