The key finding of this study reveals that shockingly few individual artists apply for funding in their own right, and even fewer are successful. What this means is that there is little direct funding being given to artists to pursue and develop their own projects, under their own control – under 20% of available funding for the visual arts in England, 14% for Northern Ireland and around 18% for Scotland and Wales in 2009-2010.
The Project Arts Centre, Dublin
8 July – 20 August
Current professional development support schemes for visual artists in the UK.
Janey Muir graduated from her MFA at Duncan of Jordanstone College of Art and Design in September 2010. A year on, Richard Taylor steps in to conversation at a pivotal moment in her work’s development, through a new Project blog on Artists talking.
Grand Union, Birmingham
28 May – 30 July
Project Space Leeds
28 April – 6 August
As an increasing number of publicly-funded arts organisations seek out new models and initiatives for support, Artsway is providing a valuable platform to debate and explore what already exists, raising the issue of how longer-term support of artists can be maintained and increased in a period of arts austerity.
Jac Mantle writes critically about art. In 2010 she reviewed the Glasgow School of Art degree show, she has contributed to a-n Reviews and writes for The Skinny in Scotland. Richard Taylor catches up with her to find our more about her reviewing process and ways to follow suit.
A-n’s Collaborative relationships series exposes the working relationships between artists and the wide range of professionals they collaborate with. Running in its current format since 2008 we now have a rich archive of over thirty articles covering hugely varied projects. Here, some select quotes offer highlights and insights into the nature of collaboration.
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.
A-n’s Collaborative relationships series exposes the working relationships between artists and the wide range of professionals they choose to collaborate with. In this article, artist David Cotterrell and Projects Director Carolyn Black reflect on the realisation of a unique and demanding work for the Forest of Dean Sculpture Trail.
Tenderpixel, London
13 January – 3 February
A new addition to Manchester’s artist-led activity, The Art Corner gallery’s curatorial team comprises emerging artists and art students.
News of current public realm and gallery commissioning projects.
David Roberts Art Foundation, London
13 October – 18 December
Director of Situations Claire Doherty and artist Stephen Hodge (of Wrights & Sites) give their account of how they developed a contemporary public artwork to reanimate visitors’ experiences of Weston-super-Mare.
Steve Dutton reflects on the exhausted Biennial model and gives his account of how curators are finding ways to overcome this syndrome.
New Art Exchange, Nottingham Castle Museum and Art Gallery and Nottingham Contemporary
23 October 2010 – 9 January 2011
Artists Bruce Gilchrist and Jo Joelson and curator Emma Underhill discuss their collaboration on a project to create a sculptural ‘habitat’ that will contribute to the life cycle of birds in two urban garden locations.
Featuring a selection of the UK’s arts organisations that are providing vivid cultural life to rural areas.
Kate Raggett and Mandy Fowler give their recollections of an ambitious one-day land art workshop in rural Herefordshire that involved nearly 200 participants, several bales of straw, and a Cessna aircraft.
Supercollider, Blackpool
5-27 June
John Hansard Gallery, Southampton 27 April – 19 June
Graphic design supplied an impetus, as skateboarding provided public space for experimentation. Soon to be in his final year at Birmingham City University, Ryan Hughes continues to transform public sites with the durable object alongside textual intervention.
Richard Taylor finds out how three artist groups are re-vamping their structures as established organisations, to support new talent and promote a variety graduate activity.
