Thanks to lottery funds through the Scottish Arts Council, the first artists residencies for Scotlands celebration of Highland culture in 2007 were awarded in October.
Rural Context - Page 2 of 3 - a-n The Artists Information Company
John Plowman and Nicola Streeten comment.
Two major themes emerged during a recent Littoral conference, and both of them had to do with community self-reliance.
ArtSway, the contemporary visual arts centre in the New Forest, has announced that it has completed on the freehold purchase of its gallery and grounds, securing the future of the organisation and offering increased resources for contemporary visual arts in […]
As debates about the economic role of artists in the creative industries roll on, substantial funding has been secured in Lincolnshire to support artists. The Creative Solutions Initiative will launch in September and run for two years. The end game […]
A small collective workspace in a converted barn in rural Lancashire.
DAW adapted a successful model of an open studios event for a rural location.
More than just a studios building, Stroud Valleys Artspace (SVA) represents a hub for artists in the area.
Search under rural on www.a-n.co.uk and youll find a fascinating array of features and profiles of artists and organisations whose work context is rural. Artists including Roxane Permar in Shetland, PALP in Cornwall, Emma Baird Murray in Wales and Ian […]
Gillian Nicol reports on two international art festivals and a socially engaged project in Norway.
Rosemary Shirley investigates the impact over ten years of the Braziers’ international residency workshop, set up by artists for artists.
In summer 2003 I took part in Excavate Overlay, a multi-disciplinary project involving artists, a writer/ anthropologist, archaeologists and members of a rural community in Caithness, Scotland.
Henna Asikainen reports from the Fifth International Conference on Environmental Aesthetics.
Roxane Permar describes setting up a new artists’ membership group in Shetland.
I work directly with wildlife and environments that surround me; my work comes from a place, rather than being about a place.
This profile looks at the activities of Littoral, an arts trust promoting new creative partnerships, critical art practices and cultural strategies in response to issues about social, environmental and economic change.
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.
Heather Rigg reports on a professional development scheme in Suffolk that provides a package of support for artists in that region.
Claudia Zeiske brings to our attention a new artist-in-residence programme in north east Scotland, supported by the Glenfiddich Distillery.
Drifting south west to Cornwall, Alan Bleakley describes PALP, an artist-led group committed to experimental, collaborative and socially inclusive projects.
For artist Emma Baird Murray, Coed Hills Rural Artspace in South Wales has become a place of inspiration, a space where making art, sustainable living and community involvement go hand in hand. She describes how the organisation works with artists in a rural setting.
Rosemary Shirley explores ways artists are working in or with remote locations and how new technologies are being employed.
Moira Jeffrey attended ‘At the City’s Edge’ in Glasgow, a conference that amongst other things addressed ‘what artists are questioning and why’. Here, she feeds back on the projects discussed and the main debates that arose.
Rick Faulkner, artist and director of Chrysalis Arts, outlines the international ‘Artists in Transition’ project and how it adapted to the change in circumstances imposed by the outbreak of Foot and Mouth.
There is a long history of placing contemporary art in remote and rural locations as a method of encouraging tourism. The sculpture trail is now an established form of presentation. Here, Victoria Bernie – an artist based in Edinburgh – describes her participation in a small-scale project in Sweden and Public Art Officer Piers Masterson gives his view on the history and public reception of a much larger project spread across northern Norway.