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A-N Magazine CURATING NOW / ROMANTIC DETACHMENT / INIVA PROFILE / OVER 130 JOBS and OPPORTUNITIES

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A-N Magazine CURATING NOW / ROMANTIC DETACHMENT / INIVA PROFILE / OVER 130 JOBS and OPPORTUNITIES a-n Magazine JAN 2005 £4.25 CURATING NOW / ROMANTIC DETACHMENT / INIVA PROFILE / OVER 130 JOBS AND OPPORTUNITIES ( 6.75) Artists’ events in Scotland Sat 15 / Sun 16 January Sun 23 January Starts 11am Glasgow 10.30am registration – 5pm threelittlewordsanditgoeslikethis… do it now Fast forward Glasgow, CCA, Sauchiehall Street Collaboration between Something Haptic (Glasgow) Introduces recent visual and applied arts graduates and TotalKunst (Edinburgh) within the Networking to ways of getting their work seen. Programme Artists’ Networks initiative includes: From self-determined ‘grass roots’ to funded keynote presentation from internationally support networks, artists can realise their ideals if significant artist they put their heads and shoulders into it. Two days artist-led initiatives panel of artists from of free stimulating visits, talks and networking Scotland and elsewhere events between Glasgow and Edinburgh. choice of two breakout discussion groups facilitated by artists and curators To book Edinburgh/Glasgow artists contact [email protected] by 10 January Contributors include: Juliana Capes, artist, Edinburgh; Kim Coleman, artist and Co Director, Other Scotland-based artists: 15 places have been The Embassy, Edinburgh; Pat Fisher, Principal allocated to provide travel bursaries for Scotland- Curator, Talbot Rice Gallery, Edinburgh; Leo based artists from outside Glasgow and Edinburgh Fitzmaurice, artist and Co Director, Furthermore, to take part. To apply for one of these places send Liverpool, Paul Moss, artist and Co Founder, no more than 100 words saying how this event will Workplace, Newcastle upon Tyne and Amy Sales benefit your practice to [email protected] no independent curator and Director/Founder later than 10 January, as places allocated on a first- EmergeD. Chaired by Julie Crawshaw. come-first-served basis. Info from: Cultural Enterprise Office Information on other artists’ events in Scotland [email protected] in the Networking Artists’ Networks initiative Tickets £10 (£5 concessions). Bookings to CCA: from [email protected] Box Office, 350 Sauchiehall Street, Glasgow, G2 3JD or 0141 352 4900. Places limited so book now! Organised by Cultural Enterprise Office and a-n The Artists Information Company in association with CCA. 5 812 20 26 30 a-n Magazine JANUARY 2005 Regulars Features Editorial and letters 4 Making a difference 26 Artist’s story 5 Catherine Wilson profiles inIVA’s achievements over the last decade. It’s raining again: Tim Machin Curating now 30 Reviews 6 Gordon Dalton reports on the Curating Now symposium at the Irish Museum of Modern Art hoping to resolve the future of museum curating. What’s on 10 Whose island 34 Subscribe or renew 19 Musician, artist, and craftsman, Brian Dewan is a latter day American News 20 renaissance man. Read this excerpt from his recent performance in the exhibition ‘Romantic Detachments’. Networking artists’ networks 24 Opportunities 36 Unique advertising and listings New on www.a-n.co.uk for UK and beyond Fees & payments Art vacancies 51 A practical guide from Rod McIntosh on negotiating a better rate of pay, Employment opportunities adds to the body of material building up around this new web topic. Directory 52 Engaged Practice Listing of specialised services Jane Watt speaks to Nina Pope and Karen Guthrie about the Bata-ville a-n News 58 project and working with Commissions East. Updates and announcements on a-n Academic research people, partners and projects Paul Glinkowski talks to artist-curator Mark Beasley as he embarks on a Stanley Picker Fellowship at the University of Kingston. And to David Falkner, Director of the Stanley Picker Gallery, about how Beasley’s project will fit in with the research culture of the university. Jobs & Opportunities Updated weekly on www.a-n.co.uk Organisations International contacts in Belgium and The Netherlands. Cover: Markus Amm, Untitled, oil on paper, 22x28cm, 2003-4. See News ‘International Residencies’ page 22. Editorial Apologies One of our very early issues laid bare the public arts funding routes. The feature took the We suffered a run of technical form of a twisted neuronal-type structure, revealing Parliament’s funds to the Arts Council of hitches at a-n during late November Great Britain at the top and the precise money available to artists as grants down there at and early December and as a result www.a-n.co.uk was unavailable for the bottom. several days. This also meant that Although perhaps not immediately enthralling, this was the first time artists had been work behind the scenes was hindered and we were unable to deliver sev- provided with such a resource, to contextualise their practice. The principle of making visible eral of the items promised in the the critical and practical issues of being an artist and how our community interfaces with the December magazine. You’ll be pleased to hear that the Interna- rest of the world is as relevant nowadays, enabling us to make informed choices about our tional contacts for the Balkans, Baltic individual survival and development strategies. countries, Czech Republic and Poland are now available and that The Pre-internet and desktop publishing, the research process then required to gather and present Artists’ Fees Toolkit is up and run- such information on a UK-wide scale was no mean feat for a-n, and a milestone in ning. Payments to artists – a review democratising the visual arts – well at least for the 500 or so subscribers in 1980. of UK practices 1989-2004 will be available during January. Twenty-five years on, we have the benefit of sophisticated data collection processes and communications and also some 32,000 connected, professional, informed and pro-active artist readers, who recognise that a-n not only supports their practices but represents their PLEASE NOTE wider interests. The office is closed from 3pm Thursday 23 December In 2005, we’ll be marking our 25-year anniversary. There’ll be a series of special publications, and will re-open 9am Tuesday artists’ events, research and campaigns, all designed to raise the profile of artists “to 4 January. stimulate and support visual arts practice and affirm the value of artists in society”. We welcome your ideas for and involvement in this programme that is for, and about artists. We’re only here because of you. Louise Wirz, Director of Development Susan Jones, Director of Programmes This issue and more at www.a-n.co.uk A text only version of a-n can also be viewed at Diagram from a-n December 1980, Financial Arteries, showing the distribution of arts funding in Great Britain at the time. www.a-n.co.uk 4 Editorial & letters a-n Magazine January 2005 Above: Top right: Above: Tim Machin, What You may Not Know, ink on Tim Machin, Untitled (Lone Stag in a Tim Machin, Situation at Noon Today, cut paper (a leaflet from Barclay’s Bank, the text Landscape), cut paper Blu-Tak (a stag cropped newsprint (the daily weather forecast from the excised using a pen from Barclay’s Bank), from a tourist leaflet, a whole packet of Blu-Tak), paper, all the clouds cut out), 7x5cm, 2001. 20x20cm, 2003. 15x8x5cm, 2004. It’s raining again Artist’s story: Tim Machin It was raining. Real rain; I could feel the with my parents, and my drawings, still It’s not been as easy as the advert entire packet of Blu-Tack), a glossy ink washing off the drawings I carried a bit soggy, sitting on a shelf. My draw- promised – living a bit out of the loop, photo of a glacier turns out to be a in a bundle under my arm. All my stuff ings: a weather map torn from a news- struggling to make ends meet, but I’ve sort of bank heist – a free leaflet was crammed into plastic bags as I paper with the clouds cut out, the got by. And got on – successful group about debit cards, its text obliterated trudged through the London puddles – marks made by coloured pencils on the shows in London, inclusion in the Con- with the pen-on-a-chain done whilst leaving my flat in a rush (after a falling packet they came in, a tube map with temporary Art Society’s Artfutures, and waiting to see the manager – the out with my landlord), finishing my MA, new rail lines biroed in. work in another Mostyn Open. bank unwittingly providing space and and getting out of the city. Climbing At a loose end, I applied for the Now it’s raining again. I’ve just put materials to deconstruct their adver- aboard a train, heading north, no idea Arts Council England, South East set- up the work of the past months. tising. It looks like this is the way for- what to do next. ting up scheme. Money, business sup- Called ‘Pooleyville’ after the back-of- ward – to make work in the spaces I This was 2001. I’d had some success port, a ‘materials’ (read laptop) envelope sketches for Milton Keynes can, for nothing. 2005 sees a solo – getting into the Jerwood Drawing budget, a free studio and the next by architect FW Pooley. It’s a collec- exhibition in Northampton and, Prize, Pizza Express Prospects Drawing thing I know, I’m moving to Milton tion of old masters for the new city, weather permitting, the transfer of my Prize, and Mostyn Open and showing Keynes with eighteen months to get quirky sketches of life here – a stag guerrilla tactics back to London. (and selling) my work with Discerning my head around life, make some work steps out high on a rocky crag (the Tim Machin is an artist based in Milton Eye.
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