Zarina Bhimji
Manick Govinda profiles Zarina Bhimji and uncovers how two awards have played a pivotal role in her recent work.
Manick Govinda profiles Zarina Bhimji and uncovers how two awards have played a pivotal role in her recent work.
David Redhead profiles Muf, a collaborative practice of art and architecture committed to public realm projects, exploring its manifesto, projects and modes of collaborative working.
Roddy Lumsden talks to artist Joshua Sofaer about the differences between performance and live art, audiences, and finding funding.
Angharad Pearce Jones explores the sprawling career of Tessa Fitzjohn, providing an insight into her successful work/life balance.
Sorcha Dallas profiles Transmission, the Glasgow-based artist-run gallery, that was established in 1983 by graduates of Glasgow School of Art.
Hayley Newman works performatively, producing live events, film, video and photography. Sally O’Reilly looks at how she investigates modes of documentation and the historical placement of the genre.
Nils Norman’s practice uses digital illustrations and architectural modelmaking to propose redevelopments of urban sites. Chris Hammonds finds out about his ‘multi-front economy’ based practice.
Paul Moss profiles Tanya Axford and discusses the strategies she has employed to maintain her practice.
Jeni Walwin on the artistic achievements of Blast Theory, an internationally renowned artists’ group creating groundbreaking new forms of performance and interactive art that mixes audiences across the internet, live performance and digital broadcasting.
Chris Hammonds looks into Scott Myles practice and discusses how he has worked on self-initiated projects, developed work through residencies, and benefitted from commercial representation.
Lucy Wilson explores the development and expansion of Hidden Art, an initiative set-up by Dieneke Ferguson to promote the work of designer-makers in Hackney.
The Contemporary Art Society (CAS) supports the museum collection of contemporary art. Hugh Adams investigates the society’s aims and activities and offers advice on making an approach to CAS.
Brigid Howarth looks at how Sue Park, Amanda Doughty, Joe Magee and Kuljit Chuhan make a living thourgh selling their work or skills.
Linda Ball explores how self-employed artists operate and how an artist-run business can work.
Rebecca Farley profiles the Starter studios programme and looks at how six of the scheme’s previous artists were able to develop their careers.
Heather Rigg profiles Next Move, a national professional development scheme which aims to launch the careers of applied artists.
Hilary Williams talks to four artists about how they have developed specific products. She learns about their initial motivation and inspiration, how they developed their ideas into production and what marketing strategies they employed for these particular products.
Despite graduating just two-and-a-half years ago, it is incredible how much metalsmith Junko Mori has managed to achieve in terms of reaching different markets and raising the profile for her work. In some ways she appears to be the very […]
As a UK artist you automatically hold copyright in your original works of art. This guide introduces the basic concepts of copyright law and offers practical advice on protecting your work against possible infringement.
Whilst safe working practice is largely a matter of common sense, it is also a legal and professional issue. This guide by David Pope introduces the key legislation and offers practical advice on risk assessment.
Marice Cumber introduces key marketing concepts for artists and offers advice to help target your marketing effectively.
A guide by Paul Stone on how to successfully plan, develop, manage and promote an artist-led event.
Andrew Kötting is one of the UK’s most intriguing artists, and perhaps the only contemporary film-maker who could be said to have taken to heart the spirit of visionary curiosity and hybrid creativity exemplified by the late Derek Jarman. Formally […]
Illustrating the approach she brings to her new role at [a-n], Gillian Nicol highlights some of the challenges and opportunities for artists and their practice today, looking broadly at education and employment, status and lifestyle and the impact of widening access to technology.
Usually I’m on the move. I have a tendency to spend between two days and two weeks somewhere and then move on.