International moves: Tom Trevor leaves Arnolfini
The highly-regarded Director and Chief Executive of Arnolfini, Tom Trevor, is leaving the institution for pastures new.
The highly-regarded Director and Chief Executive of Arnolfini, Tom Trevor, is leaving the institution for pastures new.
Summarises key findings from the Institute of Cultural Capital evaluation of the London 2012 Cultural Olympiad.
As the economy continues to falter and budgets are cut, public funding for the arts is increasingly justified in terms of economic and social benefits. But, argues Shaun Glanville, this is futile and wrong-headed – a new approach is needed.
Arts producing agency Forma is celebrating a decade of working with leading artists by reappraising previous projects and announcing a raft of new ones. We speak to founder David Metcalfe and artists Matt Stokes and Graham Dolphin about the past, the future and the role of the producer.
Peter Bazalgette uses inaugural speech as Arts Council England chair to highlight how the arts can cement its ‘world class’ position whilst dealing with shrinking budgets.
Arts & Business Scotland has announced that its new Chief Executive will be David Watt, currently Director of Glasgow Sculpture Studios.
Wondering what 2013 has in store in terms of conferences and events, art fairs and festivals? We take a look ahead to provide a snapshot of things we think are worth noting in your diary.
Edinburgh tapestry studios celebrate centenary with showroom of hand-tufted rugs designed by contemporary artists.
Fundraising is a competitive activity. This guide by Lisa Le Feuvre introduces the main funding sources and offers guidelines to help make winning funding applications.
People have been asking if things are going as I expected. To be honest, I didn’t really know what to expect. I knew that I’d be focusing on a specific research topic, which was a welcome opportunity as I now […]
AIRTIME, the fast-paced information and networking experience, is partnering with Nottingham’s WEYA festival in September.
Chris Fremantle highlights key themes and issues around collaboration making use of a-n’s extensive archive of texts on the subject.
We’re proud of what a-n Magazine has achieved over its thirty-two years. On the occasion of the last print edition we invited many of our collaborators and contributors to help us celebrate and mark this moment by giving us a ‘few words’ – a short testimonial of what a-n means to them. Here, they reflect on our significant role for artists and on the value of a-n Magazine, publications or initiatives.
A-n Magazine May 1998: Increasingly, interdisciplinary or collaborative working processes are being used by artists, both as a means of extending their knowledge and personal experience and to create partnerships in which artists move beyond the close confines of the art world and can more readily address social, political and environmental concerns, we asked six artists, for whom collaborative working is a driving force, to describe their approaches and concerns and to provide some analysis of the issues an questions which have arisen.
Reyahn King explores the role of galleries within professional development for visual artists. In the current climate, how can professional development for visual artists be continued and improved? This paper suggests that one answer lies in the relationship between publicly-funded regional galleries and visual artists becoming wider, deeper, and more strongly valued.
A good proposal is like a conversation. To begin a really good relationship, you’ve got to find out as much as you can about who you’re talking to and what they’re interested in. This is the basis of making a successful pitch.
Artist, horticulturist and a-n Communications and partnerships team member Maggie Tran sowed the seeds of her practice through volunteering and event programming. As working life flourishes she takes us to the tip of her roots to tell the tale.
Zanne Andrea completed her Fine Art degree at University of the West of England (UWE) in Bristol, in the summer of 2011. We catch up with her en route to a collaborative empty-shops project and off the back of a mini-residency, six months on from graduating.
‘Ladders for development’ argues that the visual arts sector should pull together and support small visual arts organisations cut by Arts Council England because they “punch above their weight” and provide vital development of future artists. Six months on, Dany Louise interviews these arts organisations again, to find out how they’ve fared and what their futures hold.
Its that festive period where everything pauses. Before Christmas Annabel and I started putting together the Show&Tell Programme 2012 and delighted to have speakers Susan Collis, Virgina Verran, Freddie Robins, Alex Pearl, Cathy Lomax, Karl England Ben Street, Amy Mckenny […]
Over the past five years, the words Turning Point have been read, heard, written and spoken with increasing frequency by people in the visual arts in England, but for many individual arts practitioners, in particular, the origins and activities of Turning Point remain a bit opaque. This briefing paper is for them and for anyone interested in understanding more about what Turning Point is and does.
The key finding of this study reveals that shockingly few individual artists apply for funding in their own right, and even fewer are successful. What this means is that there is little direct funding being given to artists to pursue and develop their own projects, under their own control – under 20% of available funding for the visual arts in England, 14% for Northern Ireland and around 18% for Scotland and Wales in 2009-2010.
Artists and arts organisations had the opportunity to debate current and future professional development needs and aspirations in June as part of strategic planning by Turning Point West Midlands.