Louise graduated from Glasgow School of Art with a Fine Art Degree in 2005. Whilst studying she was involved in the artists’ run exhibition space Park Circus with her peers and had been volunteering one day a week at doggerfisher […]
Let me start by offering my sincere apologies to Frances Williams for referring to her as both Frances and Sally in the text.
Nick Slater and Kathrin Böhm relate the project by public works and myvillages.org, commissioned as part of Radar’s ‘Group Process’ programme.
Further details from a selection of this month’s MA and post-graduate course advertisers.
It’s great to have critical writing by Sonya Dyer on the Mobile Conference in the May issue of a-n Magazine, but can I correct some inaccuracies in her coverage?
Mark Wilsher talks about combining the roles of artist and curator in his own practice.
Rachel Garfield explains how a desire to critique dominant models of the mainstream informs her curatorial practice.
Shezad Dawood discusses how he see curation as an opportunity to explore the interplay between his own work and that of other artists.
Simon Tegala tells how he needs to adopt many different roles to realise the production of his curatorial projects.
Growth of independent curators and curatorial agencies within the UK over the last decade is no accident. Generated in part as a response to inherent constraints within the traditional gallery and museum world and development of specialist curatorial courses, it has undeniably brought fresh perspectives to artist-curator relationships and, increasingly, supports those practitioners seeking to move across into curation as a natural extension of their visual arts practice.
Jananne Al-Ani describes how her experiences as an artist have informed her development of curatorial projects.
Andrew Maclean is one of three graduates from the 2003 a-n Magazine degree show reviews feature ‘School’s out’ who hav given updates on their practice in ‘School reunion’ as part of 2009 Degrees.
Institute of Contemporary Interdisciplinary Arts, University of Bath
4 March – 12 June
Jane Watt reports on the Brighton symposium Is Design Good For You? considering the range of projects that artists undertake in healthcare environments.
Frances Lord discusses her practice as a curator, writer, freelance project manager and art consultant with Jane Watt.
John Holden on cultural elitism and expert professionalism.
RSA Upper and Lower Galleries, Edinburgh
14-25 February
An overview of the types of private and public galleries and organisations that constitute the UK’s art world. Examples demonstrate what drives them, as well as the imperatives of some of the artists who exhibit and develop work for them.
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.
Group Process is the latest season of work to be staged by Radar, Loughborough University’s contemporary arts programme. Running into February; it involves new and adapted commissions produced by artists Lisa Cheung, Yvonne Droge Wendel, public works / myvillages.org, Parfyme and Yara El-Sherbini.
Lucinda Holmes has recently re-located to China and become involved with an emerging arts centre called [the studio] that is working towards developing an artists community in Shanghai. In this article she records her impressions of the galleries she has encountered in the city, and discusses how experiencing a different culture has effected her work as an artist.
Cockpit Arts’ chief executive Vanessa Swann and business development manager Ellen O’Hara speak to Jane Watt about Cockpit’s unique incubator scheme for designer-makers in London.
Profiling studios and facilities around the UK.
I was interested to read your letters from Chris Young in the October magazine and the later response from Jon Bowen in November.
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