S1 Artspace provides studios for artists whose work is both contemporary and critically engaged.
Time and Space - Page 3 of 4 - a-n The Artists Information Company
Occupation Studios is a case study in cooperative survival in the urban regeneration landscape.
Out of the Blue has thrived through establishing a diversity of activities and income streams.
DAW adapted a successful model of an open studios event for a rural location.
Temporary studios can be a useful option for creating project-specific work.
How a partnership with their local university helped FusionARTS secure studio premises.
Gasworks is part of an international network of independent studios around the globe.
Nottingham Studios Consortium is an example of the ‘strength in numbers’ approach in making the case for studio provision.
How education work has contributed to this studio’s success.
CRATE successfully accessed economic development and regeneration funds to buy a building.
Paul Glinkowski looks at the UK studio landscape, highlighting successful new studio models. He also offers advice to artists wanting to set-up their own group.
Jane Watt speaks to Nina Pope and Karen Guthrie about their practice, the Bata-ville project and working with Commissions East.
Paul Glinkowski talks to Mark Beasley at the start of his Fellowship at Kingston University.
Jane Watt talks to Dalziel + Scullion about their collaborative practice, unusual studio set up and processes involved in their commission for Royal Aberdeen Children’s Hospital.
Jane Watt profiles PACE, public art commissioning agent for Royal Aberdeen Children’s Hospital.
East Street Arts (ESA) is a model example of what the purchase and refit of studios involves.
More than just a studios building, Stroud Valleys Artspace (SVA) represents a hub for artists in the area.
Lee Corner interviews Graham Fagen about his commission in Kosovo for the Imperial War Museum.
Maria Wilson shares her experience of working at Maesgwyn Special School as part of Opt for Art, a project funded by the Arts Council of Wales.
Phyllida Shaw explores the role of grant making trusts, foundations and charities.
Introduction to different kinds of residencies and what they have to offer for creative and career development.
Susan Jones explores the way artists interact with audiences through projects and schemes which involve social or environmental contexts.
Carey Young provides a guide to engaging with businesses and in business contexts.
Neal White, a member of Soda, shares the groups experience of undertaking a residency at the pharmaceuticals company Pfizer.
Michael Atavar talks about the ups and downs of his experience as artist-in-residence at The Guardian.