Contents include: Is collaboration different in the visual arts? Gillian Nicol reports from ‘Stronger Together’, an event held in Newcastle in June and Nick Sharp discusses IP and copyright issues that arise through collaborative practices; in Debate Kate Phillimore and […]
Kate Phillimore and Matthew de Pulford propose the jester as a vehicle for understanding playfulness, mediation, diplomacy and rebellion within curatorial practice.
In her article asking ‘What festivals add to a city’ (a-n Magazine, July-August 2011), Dany Louise points out that local authorities tend to favour them for extrinsic reasons like improved tourism and city profile. Based on my recent experience in Folkestone, where I was undertaking a short residency, I would argue that these supposedly extrinsic reasons are in danger of eclipsing the intrinsic benefits, as festivals are increasingly understood within the context of urban development and economic growth.
Artists are increasingly working with organisations and other artists in collaborative situations where issues of Intellectual Property may be less clear. We asked solicitor Nicholas Sharp for his advice in response to an artist’s recent query.
New Art Gallery, Walsall
17 June – 1 October
Dundee Contemporary Arts
21 May – 31 July
Aid & Abet, Cambridge
1 – 30 July
Cell Project Space, London
30 June – 31 July
Grand Union, Birmingham
28 May – 30 July
A tour around some of the UK’s open studios and artists’ open house events taking place this autumn.
A selection of post-graduate study routes on offer across the UK.
Artists David Hood and Seainin Passi introduce their ongoing collaborative practice Community Facility, and reflect on a legacy of nine years’ work and the subtleties of engagement that have emerged.
Arron Kuiper, Box 8, oil paint, aquagel, glass vitrine, 2011.
Held in June, ‘Stronger together’ was an opportunity to ‘celebrate and question how we work together’ – exploring collaboration in its many forms – and how vital that is to the survival of the arts.
Highlights from this year’s degree show reviews.
Where in Art Education does the education take place? Artist and educator Mitra Memarzia reports.
With a-n + AIR’s recent Big Artists Survey revealing that a third of both mid-career and established artists expect their incomes to go down this year when compared to a year ago, Artquest’s new development will strike a chord with many artists as they navigate the increasingly harsh economic environment for their practice in the months ahead.
News of successes from the ceramics and glass community.
Artists and supporters of art are being rallied to support final implementation of an important Right for artists, their families and beneficiaries.
New ways are needed to measure the types of value being delivered by small visual arts organisations, according to a new report looking at the role and value of the small-scale visual arts sector within the wider arts ecology.
Led by curator Vicki Lewis and artist Katherine Clarke (muf), the We Are Artists, How Can We Help? action research project questions the presence of artists as a model in regeneration. What does the artist gain? Is there a benefit swap between the artist constituency and their neighbours?
Organisations around the UK facing cuts or closure.
New high profile museums and galleries have opened across the UK, but how can they best contribute to the local arts and culture, asks Emily Speed.
As UK’s universities continue their radical overhaul to deliver a more streamlined and affordable ‘service’, art education is facing up to the challenges this presents to the sector. Attending Cubitt’s July Festival of Blackboards, Mitra Memarzia observes that art students […]
