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Faye Claridge received a NAN Re-View bursary in February 2008 in order to initiate mentoring with curator Katy Barron. Emilia Telese talks to her about the bursary and its impact.

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.

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.

Brian McClave and Gavin Peacock recall how they joined forces within their artistic careers, and discuss their motives for collaborating.

Andrea Hawkins, Head of Public Engagement at Manchester’s Whitworth Art Gallery and artist Lucienne Cole talk about an innovative approach to publicly-engaged art.

Profiling studios and facilities around the UK.

Art at the Centre is an award scheme from Arts Council England, South East that seeks to involve artists from the outset of regeneration projects across the region. As part of this scheme, Maidstone Borough Council looked to develop an Artists’ Quarter in the heart of the town to promote the area’s wealth of creative talent. Here video-media artist Margherita Gramegna and consultants FrancisKnight talk about their involvement in this process and the resulting work, Artists Don’t Bite.

Sat on a hay bail, a chicken preening itself beside me, wondering exactly where I am (Bosigran: half way between Penzance and St Ives), surrounded by conceptual drawings and performance traces mounted on the walls of a barn, listening to an artist-led panel discussing performativity, respect of the land and an ancient rock formation known as Carn Galva. What is this thing: BOSart 08?

With a-n amongst the first to record its phenomenal impact through publication way back in 1991 of Live art, performance as it was then known, exhibited the characteristics of all that was innovative and edgy. In its introduction, Robert Ayers and David Butler commented: “Live art’s continued value and relevance is mirrored by the extent to which other live artists continue to come up with surprising, disconcerting new possibilities”.

Artist-architect team Kevin Carter and civic Architects discuss their work with Louise Kirkup, Principal Planner of Burnley Borough Council, in the latest in our collaborative relationships series.

In a world increasingly skewed by notions of commodity and markets, artists and creative practitioners must be proactive in seeking out opportunities that enable them to experiment and take the risks that will drive up the quality of their work.

Ruth Claxton, Postcard (Portrait of a Boy), cut postcard, 2008. Photo: Stuart Whipps