Scotland’s largest studio provider, Wasps Artists’ Studios and sister charity the Wasps Trust, have launched capital projects worth £6.5million in three cities as part of strategies to benefit visual artists. To date, over £4.3 million has been earmarked to buy […]
In May, the Open Studios in Brighton celebrates twenty-five years as the longest standing artists’ studio in the city. Located in the historical fisherman’s arch directly between the piers, it has long been the workplace of artists and craftspeople of […]
Presentations by consultant Lee Corner and a-n Director of Programmes Susan Jones on the Code of Practice for the Visual Arts were incorporated into Engage’s Making Connections series of seminars during March. Held at Queen’s Hall Hexham, Artsway New Forest […]
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.
“I’m drifting far out in space with Michael Jackson’s face, and all I want to do is get back home.”
Giles Sutherland looks at the relationship between glass artist Keiko Mukaide and Edinburgh College of Art.
Artist-led Leeds Sculpture Workshop has rented property in Leeds for over ten years. Now the studio has moved into a permanent home that will enable artists to rent studio facilities at affordable prices in a professional atmosphere. This is a […]
John Beagles comments on the increased presence of artist-run initiatives at this year’s Glasgow Art Fair.
Paul Glinkowski profiles the work of Paul Bonaventura, co-founder of The Laboratory, the research wing of the Ruskin School of Drawing and Fine Art at the University of Oxford, in the fifth article of the ‘Crossing over’ series.
Gillian Nicol reports on Montreal’s vibrant artist-run sector.
Julie Brook gives a personal account of her involvement in the Comhla International Artists Workshop in North Uist.
Michelle Cotton examines how the local art scene reacts to the international attention focused on the city during the biennial.
Isabella Oulton examines the current debates around the status of artists in France as raised at The First National Visual Artists’ Forum.
Diana Yeh reports from the ‘Fieldworks: Dialogues between Art and Anthropology’ symposium.
Jane Watt looks into professional development initiatives available to artists working in the public domain, in the fourth of the six-part series ‘Navigating Places’.
Brigid Howarth discovers what makes art buyers tick.
Brigid Howarth talks to an art buyer who has been collecting since the age of nineteen.
Working with live performance, video, text and object, my practice is an investigation of liveness, mediation, desire and duration.
Brigid Howarth gives a rare insight into one art buyer’s collection and discovers the favorite haunts for snapping up the next big thing.
Brigid Howarth talks to Deutsch Bank curator Mary Findlay about the sourcing and buying of artworks for the largest corporate art collection in the world.
Brigid Howarth presents an insight into the mind of the art buyer, from private buyers to corporate and public collections.
Rosemary Shirley visits Reading-based gallery and studio complex Open Hand Open Space and discovers what makes the organisation tick.
Open studios events in November and December in London give an opportunity to see work by some of London’s finest designer-makers. Organised by Cockpit Arts, these events are taking place at their two sites at Holborn WC1 and Deptford SE8. […]
Ben Woodeson profiles the intensive international summer residency at Skowhegan School of Painting and Sculpture, USA.
Founded by sculptor Charles Hadcock and designer Russell Howard and housed in old water board offices, the Watermark in Preston is home to a unique blend of creative commercial businesses and artists’ studios. Twelve artists and designers located there grouped […]
