a-n Magazine archive - Page 123 of 134 - a-n The Artists Information Company

The UK’s seen a noticeable increase in professional development schemes for artists, encompassing training, mentoring, networking and information services. There is an obvious cross-reference to the government’s endorsement of ‘lifelong learning’ as a principle, encouraged through the offer of individual learning accounts for all. These moves increase opportunities for the kinds of artistic development that incorporates developing and honing skills, accessing facilities and ultimately furthering career strategies. The results are more than just CV embellishment. By providing points of crossover between artists, such schemes contribute to peer support systems and help to address the potential isolation of artists. Here, three individuals involved in artists’ professional development matters describe some of the resources around, and discuss how artists are making the most of them.

Clark Dawson met the Glasgow-based creators of this artists’ book to find out the intentions behind it.

The trust’s coordinator Leila Dawney explains the organisation’s artist-led ethos and its work to support the arts in Birmingham.

Louise Coysh visited ‘Fresh Art’ at the Business Design Centre, London to find out how the fair met with the exhibiting artists’ expectations.

There is a long history of placing contemporary art in remote and rural locations as a method of encouraging tourism. The sculpture trail is now an established form of presentation. Here, Victoria Bernie – an artist based in Edinburgh – describes her participation in a small-scale project in Sweden and Public Art Officer Piers Masterson gives his view on the history and public reception of a much larger project spread across northern Norway.

A regular visitor to Italy since 1981, when Alan Rogers moved there on a more permanent basis his “youthful, romantic love affair” with its warm Mediterranean light was soon replaced by the realisation that day-to-day conditions for contemporary artists were far from ideal.

Julia Dogra-Brazell reports how showing in Israel gave her a new perspective on her own work.