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.
Artist Neil Armstrong and pharmaceuticals company Specials Clinical Manufacturing talk about working towards a special commission in the latest of our collaborative relationships series.
Contents include: Live art focus; Neil Armstrong and Specials Clinical Manufacturing in Collaborative relationships; Big picture features Ally Wallace at Victoria Baths, Boundaries of perception in the Scottish Highlands and Islands PDF version [size 9.7 MB]. Requires PDF reader.
In the aftermath of the current credit crisis, how might we expect artists to be operating?
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.
New sonic works presented in October enabled five emerging artists to use personal narratives and found sound of urban spaces to create installations that resonated between the past, present and future of their sites.
A major initiative to install brand new public art sculptures at three Prestatyn locations looks a step closer to becoming a reality.
This month’s movers in the artworld.
Ally Wallace on his residency at Victoria Baths, Manchester.
Janie Nicoll discusses the ‘What Do We-Think? engage in new approaches to interpreting art’ conference in Glasgow.
Over 2,500 entries were submitted for the 2008 Jerwood Drawing Prize, advertised through a-n, with sixty-three works shortlisted.
A new study has revealed that exports account for 30-40% of designer-makers’ business within Cockpit Arts, with France, Japan and US the main markets.
Organised by University of Westminster research fellow Clare Twomey to coincide with London Design Week, September’s one-day symposium Collaboration: Artist and Industry held at The Building Centre, London offered international and UK perspectives on artists in residence within the ceramics industry.
Recent art and design graduates from across the UK are showing at the Hub this autumn.
Sat on a hay bail, a chicken preening itself beside me, wondering exactly where I am (Bosigran: half way between Penzance and St Ives), surrounded by conceptual drawings and performance traces mounted on the walls of a barn, listening to an artist-led panel discussing performativity, respect of the land and an ancient rock formation known as Carn Galva. What is this thing: BOSart 08?
Or moors: BOSart ’08 refreshes contemporary practise.
With a-n amongst the first to record its phenomenal impact through publication way back in 1991 of Live art, performance as it was then known, exhibited the characteristics of all that was innovative and edgy. In its introduction, Robert Ayers and David Butler commented: “Live art’s continued value and relevance is mirrored by the extent to which other live artists continue to come up with surprising, disconcerting new possibilities”.
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