Feature - Page 25 of 32 - a-n The Artists Information Company

“Imagine an ecological city, where communities are based on voluntary cooperation not competition, mutual aid not private profit, cultural diversity not globalised monoculture, permaculture not consumer culture”.¹

At the end of 99 I was awarded the Friends of the Royal Scottish Academy Artist’s Bursary that enabled me to undertake a month-long research visit to Japan. Japanese art has always fascinated me, and it has influenced my painting […]

As a textile artist working with felt, I have had invitations to give workshops in Australia, New Zealand, Germany, Denmark, Norway and France, and my research of ethnographic felt has found me in extraordinary nomadic places, such as the Caucus […]

Neil Zakiewicz plots the progress of The Trade Apartment’s ‘alternative’ activities.

Networking through the internet

Working internationally, and how this informs an individual artist’s practice, need not only be about physical travel. Gavin Wade and Aleksandra Mir give personal assessments of their involvement in two different projects. Both projects are ongoing, constantly evolving, and involve a process of research and collaboration with individuals and organisations from different countries. The results of this methodology – the surrendering of a degree of individual authorship – influences the physical manifestation of each artist’s final work.

On the West Coast of America, Harrell Fletcher is making history – not in the grandiose sense, but through an approach to art-making that brings out individual voices and stories.

Glasgow-based artist Ben Woodeson profiles the Canadian artist’s initiative, Contemporary Art Forum, Kitchener (CAFKA).

Matt Price describes how he curated an exhibition entirely through the web.

Diana Yeh discusses some of the issues raised by Erika Tan in her keynote speech at the Connecting Flights conference.

Brigid Howarth investigates the multifaceted business of buying and selling in the corporate art market.

Jes Fernie reveals the process of enquiry that challenges collaborations between artists and architects.

Peckham’s Whitten Timber Yard is the current home for Area 10, a non-hierarchical artist-led group with experimentation, communication and collaboration at its core.

Glass artist Jonathan Andersson discusses the benefits of breaking into the American art and craft fair circuit.

David Jeffreys looks at the issue of arts funding and considers whether there’s a catch to the expansion of public spending.

Drifting south west to Cornwall, Alan Bleakley describes PALP, an artist-led group committed to experimental, collaborative and socially inclusive projects.

Jose Ferreira introduces us to artists’ imaginative use of technology and its relationship to urban space.

David Butler reports on the current crop of ground-breaking collaborations between art and science that are giving artists the time to undertake sustained, open-ended research without the expectation of a specific outcome.

American artist Kurt Perschke reports with an account of his self-organised large inflatables ‘RedBall Project’ in Barcelona.

Simon Morrissey takes a look at what the Catalan capital has to offer artists.

Marc Rome gives an account of his participation in an international collaborative project on New York’s Staten Island.

Carolyn Genders shares her experience of European potters’ markets.

Sandwiched between the mountains and the sea, Llandudno’s modest, faded Victorian gentility is home to Oriel Mostyn Gallery. ‘Something in the Ether’ was a discussion using ‘Mostyn 12′ – the gallery’s twelfth annual open exhibition – to ask whether and how an open show pinpoints emerging trends in artists’ practice.