‘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.
This month sees the culmination of a two-year project at Siobhan Davies Dance, one of the country’s most distinctive dance companies. Choreographer Davies has paired dance artists with visual and applied artists to bring their creative practices together and create new works ranging from performance to film and installation. The commissioned dance artists are Henry Montes, Sarah Warsop, Gill Clarke and Deborah Saxon who are partnered respectively with Marcus Coates, Tracey Rowledge and Lucy Skaer. Henry Montes and Deborah Saxon have also made a piece together with Bruce Sharp. Here, three of the visual artists relate their experiences.
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.
Current professional development support schemes for visual artists in the UK.
New evidence exposing, quantifying and discussing the likely impact on the visual arts of Arts Council England’s decisions on fifteen previously Regularly Funded Organisations (RFOs) visual arts organisations unsuccessful in their NPO application. It shows that a disproportionate number of artists’ membership and development agencies and practice-based organisations lost core funding, despite ACE’s aim of creating a balanced national portfolio and makes recommendations for sustaining their work as part of a strengthened arts ecology.
Here we have unveiled our list of the top ten Artists talking blogs.
Funding for the arts has never been an easy sell – not with governments or the public. April Britski, Executive Director of CARFAC reports from Canada.
On 30 March, Arts Council England announced the winners and losers in the new National Portfolio Organisations (NPO) for funding 2012-15. Here’s a-n’s take on what’s happened, the likely impact on artists, independent arts professionals and the arts ecology as well as highlights from some of the many comments and discussions that are in train.
Thoughts from artists and arts professionals about how cuts in public spending will affect their future working pattern. Plus April Britski gives an account of how recent governmental decisions to cut arts funding have affected Canadian artists.
Chantal Powell, Siren, bird cage, metallic.
A guide to career development and training opportunities as well as related services and resources that are designed to help artists take their practice to the next level.
The most versatile of artforms, art in the public realm includes permanent works as well as temporary installations and architectural manifestations. The appetite for such work has been enhanced through the Big Art Project that enabled communities themselves to make the running for art projects and nurtured their ambitions and narratives over four years. A record one million viewers were attracted to the resulting Channel 4 programmes broadcast in May.
Beacon co-director John Plowman and artist Kelly Large discuss the project ‘Our Name is Legion’.
Launched in October, the International Curators’ Forum website supports its aim to provide an open conceptual network around emerging issues of curatorial practice in the context of key events in the international arts calendar.
Sarah Thelwall reveals that there is not one art market but several different ones. These markets are very different in terms of the artists, gallerists and collectors who participate and develop them. This Art market tour articulates the main markets and looks at what drives them.
With half the UK’s population residing outwith urban conurbations, and regional and arts and cultural policies prioritising local engagement, locations often regarded as countrified are strategically raising their art world profile through imaginative programmes and project.
This month’s art world movers.
Highlighting digital and new media commissions, exhibitions, research and resource developments.
Catherine Wilson addresses three collaborative projects by Rio de Janeiro-based Mauricio Dias and Walter Riedweg who develop works with communities and social groups often on the edges of mainstream society.
Heather and Ivan Morison on the thinking behind their work I am sorry. Goodbye.
The Jerwood Foundation, one of the UK’s best supporters of artists’ practice through their awards and prizes programmes, has a focus this month on photography.
Seven Midlands-based producers and curators have taken part in an innovative programme, Momentum, to develop their ideas and support them in making art.
Manick Govinda’s profile of Paul Hamlyn Foundation, one of the most respected and innovative grant-giving trusts in the UK
An overview of funding news for England, Wales and Scotland.
Temple Bar Gallery, Dublin
16 January – 16 February
and other shows in Ireland
