What is an artist-curator? What makes a good collaborative partnership between a curator and an artist? What financial, practical and critical support is available to curators? Do you work with an organisation or go it alone?
Margaret James-Barber and buffy klama (yK) offer two complimentary points of view about ‘M6-M3 Underway/Unterwegs’, an artist-initiated exhibition programme for artists in NW England and Berlin, and its legacy for their own practices and future collaborations.
In a response to a request to consider issues around ‘rural arts practice’, Veronica Vickery writes in the light of the events, performances, installations and seminar that made up BOS-08 and a BOSarts research trip, funded by ALIAS to Grizedale and Allenheads Arts in August 2008.
Paulette Terry Brien reveals how a number of national public-funded galleries and organisations have expanded notions of exhibition programming beyond pristine white-walled gallery spaces, and are commissioning artists to make new and challenging work within the institution, as well as off-site.
The continual shaving of UK arts budgets, cuts in mainstream grants programmes linked with escalating overheads and news of an ever-deepening economic downturn aren’t good news for visual artists who depend largely on winning freelance contracts and getting good responses to their project proposals.
Live Art Falmouth, Falmouth
6 – 7 June 2008
In this the second feature exploring strategies and approaches to commissioning art in the public realm, the focus is on regeneration and renewal and the role of agencies and consultancies.
Professional development opportunities are widely available, ranging from cash awards to advisory sessions and critical debate.
Jeanie Finlay points artists in the right direction on the road to self promotion.
“Spirit in community will die unless there’s someone calling the meeting.”
A leader is best
When people barely know that he(she) exists,
“What happened to the people who said ‘we will represent something in the world’? When did artists start to say ‘we will change the world’?”
They sit in the dark and mope
[or artists take the lead]
Artist as Leader is a programme that aims to understand the ways artists lead through their practice with a view to informing and developing a critical understanding of the role of creativity in culture.
Paper contributing to the debate about what quality and values in children and young
people’s cultural production actually means. Written with Creative Partnerships Newcastle as a research partner.
I have recently been very badly treated by a gallery – as in not told about artworks sold, then not paid, then given bouncing cheques and downright lies and evasion.
“Life flows forth out of the door from the limitation of isolated separate existence into the limitlessness of all possible directions”. Georg Simmel, ‘Bridge and Door’
A Code of Practice takes commonly-agreed principles of good practice and demonstrates why and how they should be applied.
A Code of Practice takes commonly-agreed principles of good practice and demonstrates why and how they should be applied.
Tom Burtonwood introduces his selection of articles from a-n’s archives for Perspectives on practice, illustrating the impact a-n has had on foregrounding developments in artists’ practice and strategies.
The evolution of public art is an ongoing process and as an arts practitioner I contribute my share through work with Chrysalis Arts, which is currently celebrating twenty years of live and public art practice. As a co-founder and director I feel it is time for some reflection on the climate for creating artwork in public places and consider what the future holds.
Chris Brown interviews Neeta Madahar on a return visit to Boston, where she studied for three years at the School of the Museum of Fine Arts.
89% of those attending a Code of Practice event in 2004 said it provided practical examples they could employ in their practice and 87% said it suggested where they could go to for access to further advice and information. As […]
