Audience development is core within galleries and arts organisations seeking diverse participation in programmes. Here, we examine how they create accessibility, inclusion and encourage learning and engagement with artists and artworks through activities including workshops, residencies and other projects.
Many artists aspire to permanent studio space, whether self-initiated or rented through a specialist organisation. Here, we explore some current options for artists and makers with the focus not only on developments in London but also elsewhere in England, Wales and Ireland.
Guyan Porter talks about the socio-economic dynamics of art markets and deconstructs notions of the art market in the UK.
Close proximity speaker, David Cotterrell gives his view of the pitfalls and advantages of work in the public realm.
Aimed at public sector arts employers, commissioners, consultants and arts trainers, Good practice in paying artists addresses the context for fees and payments for artists’ residencies, workshops and community commissions.
For artist Emma Baird Murray, Coed Hills Rural Artspace in South Wales has become a place of inspiration, a space where making art, sustainable living and community involvement go hand in hand. She describes how the organisation works with artists in a rural setting.
Window Sills is neither public art nor community art. It uses collaborative strategies that draw on and sit between a number of artistic practices taking its lead from ‘New Genre Public Art’ – a term used by American artist Suzanne Lacy – which incorporates activist arts, site-specific art, performance art and happenings. The project is also aligned to ideas about art and context developed in universities in the UK.
I have been reading with interest the debate in a-n about the development of “alternative art schools” (Research papers: Alternative art schools, Pippa Koszerek, 2011).
Artist Paul Evans discusses how his work became aligned to the research undertaken within universities and how his socially engaged practice has enabled academics and the public to better understand the nature of university research. Based on an interview by artist Steve Pool.
We catch up with a 2011 graduate, one year on from her degree show, to unveil alternative means of productivity with Scotland and Venice, well placed volunteering and research through internship.
‘Ladders for development’ argues that the visual arts sector should pull together and support small visual arts organisations cut by Arts Council England because they “punch above their weight” and provide vital development of future artists. Six months on, Dany Louise interviews these arts organisations again, to find out how they’ve fared and what their futures hold.
Artists David Hood and Seainin Passi introduce their ongoing collaborative practice Community Facility, and reflect on a legacy of nine years’ work and the subtleties of engagement that have emerged.
In December 2010 the Arts Council of Wales announced its new portfolio of revenue clients. From 116 existing clients more than thirty were lost. Five months on we asked the sector what the impact has been and how the visual arts in Wales has reacted, and what England might anticipate following last month’s ACE announcements.
In these times of austerity, a-n Magazine has compiled a catalogue of money-saving ideas for freelancers that have been tried and tested by our readers.
Art of Digital London is an Arts Council England programme designed to help London Regularly Funded Organisations (RFOs) develop strong strategies for connecting with audiences via technology.
Richard Taylor talks to Michelle Rowley about her career, practice and collaborative thirst for ideas.
The quality of art education offered in UK universities has been regularly under the spotlight in recent times. In this month’s Debate, an MA graduate gives an account of the critical situation, and proposes an alternative system to offer education for artists.
Updated for 2008 Research papers, Indexing intelligence is a listing with live weblinks of accessible ‘facts and figures’, research studies, conference reports, publications and other resources that are pertinent to all those working in the visual arts, compiled and edited […]
Sonya Dyer’s publication questions assumptions about non-white artists, curators and administrators that shape the current diversity landscape, and suggests alternative ways forward.
Artist’s motivations when working in the public realm.
Curated space looks at strategies and interventions within artist-curator space. Devised and conducted by Manick Govinda, contributors include Gavin Wade, Erika Tan, Jeremy Deller and David A. Bailey.
Curated space artists’ interviews in full.
Read the Social space interviews in full along with Becky Shaw’s Introduction and Matters arising.
Profiles of international models researched for Future space.
Future space addresses the future roles and functions of artists’ workspace. It introduces current strategies and concerns and places them in the context of artists’ developing practice and critical frameworks using as a prompt recent interviews with artists and other professionals. What will artists’ practice and resources be like in 2015?
pdf. Requires pdf reader.
Read the Future space interviews in full. These interviews formed the base material for the Future space publication.
Kathryn Smith on Johannesburg and Virginia Mackenny on Cape Town. The second part in a series commissioned by Deborah Smith.
Read guides and profiles that offer valuable information, insights and strategies on art practice from a range of expert voices. Plus extensive archive of past publications.
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