Amongst recent projects designed to provide a supportive environment for artists whilst they undertake public projects is The way I see it. Organised as part of Suffolk County Council’s Making art work scheme and aimed at new artists, it takes […]
Art in the Public Realm is the next seminar in NALGAO’s programme, aimed at arts officers and elected members. Held on 11 April in association with South Cambridgeshire District Council, the event will focus on the tools and experience required […]
The creativity of artists living in Wales is marked by Arts Council Wales’ annual Creative Wales Awards. With over £215,000 offered to nineteen artists across all artforms, these awards provide valuable ‘time out’ to review current practice and research new […]
This report examines how young people on Detention and Training Orders could access, participate and progress in the arts. Researched by Nottingham Trent University, and published by Arts Council England in 2005, this is part of the body of research exploring the role of arts within New Labour Social Inclusion policy.
A proposed arts and cultural sector response to the new Rural Strategy.
This spring, as part of the Africa 05 arts festival, a number of artists from around the African continent are in London making new work for various cultural institutions. Paul Glinkowski introduces the work of five of them.
Trinity Technology College, Warwick
11-23 February
Contents include: ‘Are you International?’ A Liverpool Biennial event on the languages through which art is explored. South Africa’s re-entry into global art scene: Johannesburg and Cape Town feature in two commissioned articles. In Reviews, an exhibition exploring the relationship […]
Aimed at public sector arts employers, commissioners, consultants and arts trainers, Good practice in paying artists addresses the context for fees and payments for artists’ residencies, workshops and community commissions.
Bookville, a temporary bookshop project in Newcastle upon Tyne, opened its doors in February. Managed by artist Graeme Walker, Bookville is specialising in books made by artists, but also stocks artists multiples, zines, prints, film and music. The shop includes […]
The decision as to which image to use on the cover of a-n magazine each month is never an easy one. We’re well aware of the impact on an artist of having an image distributed directly to 32,000 readers and […]
We’ve a whole new set of essays available on www.a-n.co.uk as a result of November’s NAN event Quo vadis. They are freely available to all as part of a-n’s ongoing support for artists’ networking activities. Specially commissioned by Chris Brown […]
I first visited Sweden when I was invited to participate in the Gothenburg Biennale in 2001.
Leyhill Arts and Gardens HMP, Gloucestershire
21 January – 3 March
The Walker, National Museums, Liverpool
22 January – 17 April
Droit House, Margate
15 January – 5 March
The rolling out of a-n’s frameworks for good practice in artists’ fees and payments continues apace. Already referenced in The Guardian and Arts Professional, the fees and payments research is further endorsed by Arts Council England with Senior Visual Arts […]
In February, contributions were invited by a Parliamentary Select Committee from key visual arts organisations to an inquiry into DCMS’s support of the art market, in particular into “ways of supporting and encouraging living artists and the production of new work”.
Art Gene combines a residency programme with links with education and plays an active part in local regeneration.
A small collective workspace in a converted barn in rural Lancashire.
Rodney Court is a proposed conversion of a Manchester tower block into live/work space for artists.
S1 Artspace provides studios for artists whose work is both contemporary and critically engaged.
TactileBOSCH is a studio group committed to experimentation, presentation and collaboration.
Valley Artists is a mix of established practitioners, recent graduates and current students.
I was interested to read Dominic Thomas’ article ‘Critical Contexts’ (a-n February) and wholeheartedly agree with his view that “many [professional development] schemes seem unable or unwilling to tackle the issue of the actual product of an artist’s labours”. ETA […]
