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Showing in the USA
Glass artist Jonathan Andersson discusses the benefits of breaking into the American art and craft fair circuit.
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On the waterfront
Marc Rome gives an account of his participation in an international collaborative project on New York’s Staten Island.
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Outside the margin
In the first of a six-part series ‘Inhabited spaces’, Alice Angus presents artists’ perspectives on language and its relationship to place.
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Manchester scene
Brendan Fletcher takes a look at how artist-led initiatives, and the Manchester galleries’ willingness to listen have helped shape the current changes in the Manchester art scene.
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Chinese arts examined
In collaboration with the British Museum, the Chinese Arts Centre is organising ‘Chinese Arts in the International Arena’, 18-20 April. The event will bring together some of the world’s leading figures and thinkers about past, present, and future developments in […]
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Elpida Hadzi-Vasileva
Coming from Macedonia, a country where sixty to seventy percent of the land is forest, the immediacy of nature is a significant element of my working practice.
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New appointments
Axis – the national digital register of artists – has appointed Kay Pallister to the new post of content curator and Reuben Knutson as the Schools’ Resource project leader. Pallister, who relocates from New York’s Gagosian Gallery, brings with her […]
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People and place
Roxane Permar considers a selection of the projects discussed at a recent conference, exploring what they tell us about current trends in public art commissioning.
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Positive engagements
Government enthusiasm for involving young people in arts activities has focused the attention of many galleries. Kate Tregaskis reports from Scotland on recent debates around programmes abroad and raises some questions about good practice.
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Yinka Shonibare
In the second of a series of articles focusing on the career development of well-established artists, Lucy Wilson meets Yinka Shonibare.
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Light-Proof / A Prova di Luce
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.
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The next stage
Graham Parker discusses his approach to his role as Visual Arts Officer at Salford University.
