Artquest and SPACE presented Value Added, a one-day conference for artists and commissioners exploring questions of value in relation to socially-engaged artistic practice in November 2008.
Based in Basingstoke, Hampshire arts education charity The Making was established to promote talent, excellence and innovation in contemporary craft, art and design in Hampshire and the South East.
Although you may not know it, 2009 has been designated European Year of Creativity and Innovation in recognition that Europe needs to boost its capacity for creativity and innovation, both for social and economic reasons.
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.
In the autumn, Boris Johnson London’s Mayor, set out plans to enhance Londoners’ experience of arts and culture in the capital saying that his job is not to back heritage over modernism [but] to encourage all manner of artistic expression.
Chris Fite-Wassilak is winner of the inaugural Curatorial Open – a new three-year initiative for emerging curators at post graduate level organised by Hayward Touring.
British artists and their families were dealt a crushing blow in December as Government again decided to delay implementation of the Artist’s Resale Right for artists’ heirs and beneficiaries.
University of Westminster’s BA in ceramics is set to close in 2013, with no further recruitment.
A new policy to support art, architecture and the built environment is to be developed by Arts Council England following a comprehensive review of Architecture Week.
Views from the blogs about the current economic climate.
This month’s prize winners and awards nominees.
Set up by Arts Council England in 2002, Creative Partnerships is set to become an independent organisation. Creativity, Culture and Education (CCE), as the organisation will now be known, will receive a
In October, Iniva announced the appointment of Tessa Jackson as interim Chief Executive.
Engage’s enquire programme, the largest systematic review in England to focus on how children and young people can learn through galleries, contemporary art and with artists, published its findings in November as 02 Inspiring Learning in Galleries.
Last spring, Yorkshire ArtSpace Society hosted Junko Mori within the artist in residence programme.
Arts Council England’s latest consultation now launched focuses on self-assessment and peer review and you are invited to have your say.
What happens to all the unwanted avatars? When we no longer want these ‘second lives’, do they just revert to inert data held on a server?
The British Ceramics Biennial (BCB), launched on 1 December 2008 and directed by A FINE LINE partners Barney Hare Duke and Jeremy Theophilus, is a major initiative to create a programme of events and activities and a showcase Biennial event in Stoke-on-Trent to take place in October/November of 2009, 2011 and 2013.
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.
Ten areas around the country are to pilot the Government’s
Cartwright Hall Art Gallery, Bradford, officially re-opened its upper galleries to the public in October with Connect, a new permanent exhibition that makes connections between works of art from different cultures and times.
A round-up of some artists’ info sites beyond the UK that we rate.
This month’s movers in the world of visual arts.
Recent months have seen changes to the artistic landscape in Nottingham, reflective of a wider shift occurring in the surrounding cultural environment. These changes demonstrate that Nottingham is an increasingly attractive base for artistic activity, with a rising retention of graduates leaving higher education as well as enticing artists from the region and further afield.
The McMaster Review published earlier this year reiterated the direct benefits of having practitioners at the centre of arts decision-making processes.
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