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Kathryn Smith on Johannesburg and Virginia Mackenny on Cape Town. The second part in a series commissioned by Deborah Smith.

Luiz Camillo Osorio on Rio de Janeiro and Ana Paula Cohen on S

Iliyana Nedkova responds to the networking themes that arose at Amorphous combustion, part of a body of specially commissioned writing published now on www.a-n.co.uk

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.

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.

A regular visitor to Italy since 1981, when Alan Rogers moved there on a more permanent basis his “youthful, romantic love affair” with its warm Mediterranean light was soon replaced by the realisation that day-to-day conditions for contemporary artists were far from ideal.