6 December 2011. 3331 Chiyoda, Tokyo. Edited transcript of recorded interview.
As part of Joshua Sofaer’s Artist as Leader research, Masato Nakamura discusses his commitment to transforming the art education system in Japan, and the inauguration of a new model of art centre “founded on the basis of artist leadership”.
17 February 2012. The Museum of Jurassic Technology, Los Angeles. Recording Time: 39 minutes.
As part of his Artist as Leader research, Joshua Sofaer talks to David Wilson, the Director of The Museum of Jurassic Technology in Los Angeles, about the “grey areas” and “inspiration as a form of leading”.
31 January 2012. Soho, London. Recording Time: 56 minutes
As part of Joshua Sofaer’s Artist as Leader research, Kate Love, Senior Lecturer at Central Saint Martins College of Art & Design, interrogates the idea of the ‘artist as leader’ by considering both the meaning and use of the phrase: “If you are allied to the left you are far more likely to be sceptical of the idea of leadership.”
16 November 2011. First Draft Gallery, Sydney. Recording Time: 36 minutes.
As part of Joshua Sofaer’s Artist as Leader research, 4 directors of Sydney based First Draft discuss how the project’s reputation for “conquering the new” has developed as its aims have shifted from supporting emerging women artists to encompass all new and emerging practitioners.
28 December 2011. Soho, London. Recording Time: 50 minutes.
As part of Joshua Sofaer’s Artist as Leader research, artist Richard Layzell and businessman Richard Hicks discuss Layzell’s 7 year tenure as ‘Visionaire’ at AIT software where he created bespoke events that addressed the problems and needs of the developing company.
1 November 2011, Performance Space, Sydney. Recording Time: 52 minutes.
As part of Joshua Sofaer’s Artist as Leader research, 3 members of Melbourne based artists’ collective Field Theory discuss cultural leadership in relation to what they do: “In terms of what being a leader in this field [of live art] means, there is no precedent; we have to forge a path.”
1 February 2012, Shoreditch, London. Recording Time: 33 minutes.
As part of Joshua Sofaer’s Artist as Leader research, sculptor and installation artist Cornelia Parker discusses how she came to art making and her reluctance to assume the position of leader: “All my work is about undoing positions of power”.
As the Clore Leadership Programme’s first dedicated ‘Artist Fellow’, Joshua Sofaer set about exploring what ‘Artist as Leader’ might mean. Here he shares an overview of what his research revealed.
Within UK universities, visual artists are working across university departments in many different ways ranging from arts and health initiatives, residencies and cultural heritage projects to commissions, teaching and PhD research. Artist Steve Pool identifies some key ways artists are working within HE and considers the value of such relationships to both artists and institutions.
Joining a board can provide artists with a voice in the decision-making room and a way to steer the arts agenda. Nicola Naismith explores what’s involved, and hears from artists and their fellow board members about the important contribution artists can make and why being a trustee matters.
Stroud-based artist and mother Sharon Bennett discusses her work with the Women’s Art Activation System support network which she developed in collaboration with two other Stroud-based artists, taking part in Lenka Clayton’s Artist Residency in Motherhood, and opening the temporary ‘Mother House’ studio.
In July 2010 the Rural Cultural Forum (RCF) produced a report, Creative Rural Communities (CRC), that sets out why a Rural Cultural Strategy (RCS) is needed and the form it might take.
Reyahn King explores the role of galleries within professional development for visual artists. In the current climate, how can professional development for visual artists be continued and improved? This paper suggests that one answer lies in the relationship between publicly-funded regional galleries and visual artists becoming wider, deeper, and more strongly valued.
Aimed at improving the mobility of artists into the UK, published recommendations add support to the campaign for changes to the points-based visa system for visiting artists.
The Cultural Leadership Programme (CLP) established five years ago closed at the end of March.
This guide takes artists through the different stages of finding and creating opportunities to work with young people in a range of settings. It asks: How are artists recruited? What is the best practice? What do young people want from such collaboration? What do artists need from teachers?
In a new Research paper commissioned for www.a-n.co.uk, Emily Speed looks at the complex nature of making a living as an artist.
Emily Speed looks at the complex nature of making a living as an artist with reference to profiles of four artists, all based in Austria and Germany, whom she worked alongside at the Salzamt, Linz.
Cultural Leadership Programme’s Meeting the Challenge initiative, set up to support and nurture current and future leaders, offered an open submission inviting organisations to apply.
Members of Bristol’s biggest artist-led collective Jamaica Street Artists (JSA) have teamed up with Bristol City Museum and Art Gallery for an exhibition and auction that they hope will raise substantial funds towards the purchase of their building.
Dan Thompson from The Revolutionary Arts Group reveals how artists are once again making use of empty spaces as a means to kick-start both the cultural and economic well being of town centres, and suggests seven steps to enable this area of practice to flourish.
AIR Advisory Group members David Cotterrell and Erika Tan are amongst twenty-one artists selected to participate in a new pilot cultural leadership programme.
Initiated by New Work Network (NWN) in 2007, the Activator programme is a developing strategy to build on the organisation’s track record for supporting the development of new performance, live and interdisciplinary arts.
Professional development opportunities are widely available, ranging from cash awards to advisory sessions and critical debate.
They sit in the dark and mope
[or artists take the lead]
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