The Photographers’ Gallery officially closed its doors to the public for one year on 19 September 2010 to “embark on our ambitious development of the building, creating a new, international home for photography in the UK”.
This month’s bites.
Engage/Enquire’s ‘The Art of Influencing Change, Economies and Ecologies’ at Towner Art Gallery, Eastbourne and NALGAO’s annual conference in Brighton.
Two north west projects are creating links between artists, artist-led groups and creative communities.
Comings and goings amongst arts professionals and curators, designed to aid networking and collaboration.
Su Blackwell, Gondol (detail).
One of the things that makes digital media so exciting is that they problematise many naturalised systems and spaces of communication.
During its time as a hardware store, Rapid was proud to be the only independent to take up the entire street.
Iniva and A Space have produced a new set of Emotional Learning Cards, following the success of the first set ‘What do you feel?’.
Commentary arising from research into local authority arts organisers’ needs, aspirations and modus operandi, revealing how they value and engage with artists and the approaches they take to their own professional development and to supporting the environment for contemporary visual arts.
Profiling studio and workshop facilities around the country, plus ambitious exhibition projects that are engaging with local communities.
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.
In these exceptional times, practitioners and arts professionals need to ensure their messages have clarity when making the case for the arts.
Have just picked up on the Liberate the Tate Debate (a-n Magazine, September and October 2010) and will begin by emphatically stating that I am no apologist for the Oil Industry.
Stephen Black suggests that many of the major ‘open submission’ art events are less than democratic in their selection, and therefore a disproportionate number of artists are wasting their money by entering (a-n Magazine, September 2010).
As an artist who has entered open submissions and as a manager of an artist-led, not for profit gallery space (Core Gallery, Deptford) which held its first open submission this year, I feel I can give a slightly different insight into this subject than those laid out in the last two issues of a-n, as to what your open submission fees actually go towards (a-n Magazine, September and October 2010).
The Royal Academy of Arts wishes to record its objection to the published letter by Stephen Black in the September issue of a-n Magazine (Great open submission swindle).
A large gap exists today between the reality of being an artist and the image of The Artist which is portrayed by history and media, and perceived by the general public. Rich White asks what do artists actually do for society, how can they help with regeneration, particularly in a time of recession, and what is its real value?
The embellishment of international study resounds with the affect of writing and the scripture of applied materials to define a multidisciplinary art practice: but how do you pull yourself away from the developed peer structure of art school?
Arts Council heavily criticised and arts community accused of ‘scaremongering’ during heated inquiry into funding of arts and heritage by the Culture, Media and Sport Select Committee.
In September 2009, Grey Area was granted a NAN Go and See bursary to travel to Estonia for research and development. Emilia Telese talks to Daniel Pryde-Jarman of Grey Area about the bursary and its impact on the group.
In March 2010, Artichoke Studios was awarded a NAN Go and See bursary in order to visit Dynamic Community Arts in Birmingham and Green Close Studios in Melling. Emilia Telese talks to group member Keith Parkinson about the bursary and its impact on the group.
Contents include: Artists and curators talking, professional development and rural initiatives features: In Debate: Helen Sloan argues that we need to define the visual arts and stand up for its meaning before taking on philanthropic funding. Kate Genever and poets […]
In the twenty-five years since its foundation, Castlefield Gallery has evolved, adapted and outlived many of the buzz words first used about it, but one thing has remained absolutely constant – its aim to support artists.
Artist Kate Genever and poets Jo Bell and Ann Atkinson discuss their collaboration on a public sculpture project in the Peak District, creating contemporary sculptures in response to early eighteenth-century guidestoops that stand across the Derbyshire moorlands.
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