This year’s Engage conference in Manchester brought together educators, curators, researchers, artists and policymakers to discuss the diversity of approaches to arts and health – both physical and mental – in current practice. Artist and writer Alistair Gentry reports.
For the final Assembly event in the current series, a-n was in Cardiff for a day of discussion and debate around how to survive as a creative practitioner. Trevor H. Smith reports.
So a really interesting episode of thinking aloud, that tackles lots of issues around artists and the cultural industries and paying artists. Really relevant and worth a listen to. ‘Creativity – has it become the meaningless buzz word for our […]
A survey of Berlin-based artists by the Institute for Strategy Development found that female artists are worse off than men, with many facing considerable barriers such as a significant gender pay gap and regular sexual harassment.
When artist and writer Alistair Gentry first shared his experiences of depression earlier this year it resulted in a flood of private feedback and led a-n to commission a series on artists and mental health for our Resources section. Drawing on the conversations he’s had with artists and arts workers, he argues for more openness about mental illness and wellness in the arts.
During this year’s Glasgow International, artists Ailie Rutherford and Janie Nicoll presented In Kind, an action research project using the festival as a case study in order to chart the “hidden economies of the visual arts”. Fellow Glasgow-based artist Jessica Ramm finds out what they discovered and ponders where to go next.
Announcing the recipients of this year’s a-n Artist Bursaries which offer awards of £500-£1,000 to a-n Artist and Joint (Artist and Arts Organiser) members wishing to undertake a self-directed professional development project.
A Paying Artists Working Group is being set up to inform the development of a-n / AIR’s Exhibition Payment Guide and support its implementation over the next five years.
The UK has the most highly developed arts infrastructure in the world. But, asks 2016-17 Clore Visual Artist Fellow Maurice Carlin in the first of two short provocations, imagine if it all disappeared overnight. Would it make a difference to your career? Would you still make art? And what do we want this infrastructure to do?
A new report by François Matarasso has been published on the impact of a week-long pilot lab that offered six early career artists, aged 50 and over, time to explore how creativity can be nourished and how artists can challenge themselves to develop.
The new strategy will tackle the growing challenges artists face in sustaining their careers, with a fundamental aim of ensuring policy makers and commissioners value the artist as well as the art.
Across two days of talks, workshops and get-togethers, Assembly Margate explored both the specifics of living and working as an artist in a town with a small population where art can be a contentious subject, and the broader picture of how artists deal with issues such as regeneration, gentrification and working with communities.
a-n’s touring programme of workshops, talks and get-togethers begins in early May with Assembly Margate, devised in collaboration with Margate-based social artist Dan Thompson. Stephen Palmer reports.
At IAA Europe’s recent annual two-day general meeting in Berlin, a key workshop discussed the issue of social security and the mobility of visual artists within Europe. Pippa Koszerek reports that, despite Brexit, such discussions remain important to UK artists.
For the latest in her series on artists’ books, Sarah Bodman looks at the work of Maddy and Paul Hearn who, with fellow artist Vickie Fear, are behind this month’s Counter: Plymouth Art Book Fair.
Following more than two years working and consulting with artists, major public funders and visual arts organisations, a-n and AIR has published new guidelines for paying artists for their contribution to public exhibitions.
a-n and AIR to launch landmark piece of guidance for securing payment for artists who exhibit in publicly-funded galleries, with an event today at the Jerwood Space, London.
For over 30 years, New York’s Guerrilla Girls have been the feminist conscience of the art world, exposing sexism through protests and original research on posters, stickers, billboards and artwork. Fisun Güner spoke to two of the founding members about their new Whitechapel Gallery show, ‘Guerrilla Girls: Is it even worse in Europe?’
As a-n/AIR’s Paying Artists campaign prepares for the launch of its Exhibition Payment guide on Wednesday 12 October 2016, we take a look at some of the key moments in the campaign’s history, highlighting the rich and varied dialogue with artists and the wider visual arts sector that has informed its recommendations.
In its Arts Strategy 2016-17, published to coincide with Edinburgh’s festival season, Creative Scotland has made fair pay for artists a core aim as part of its commitment to supporting and promoting artists’ work.
a-n’s Executive Director Jeanie Scott comments on the outcome of last week’s EU Referendum, and outlines how a-n will continue to support its membership as we navigate uncharted territory.
Whilst writing my dissertation ‘Contemporary Portraiture: the Influence of Primary and Secondary Sources’, one of the artist’s I looked at was Chuck Close. Charles Thomas “Chuck” Close is an American painter and photographer, renowned for his large-scale photo based portraits. […]
PART 2 Please see Part 1 of this blog for an introduction. Ways of working: studios and public programmes During the research trips we sought out organisations that we felt Primary could learn something from, in some way reflecting our […]
Primary is an artist-led space in Nottingham. Through the A-N Go & See bursary, we went to visit artist-led spaces and arts venues in Scotland and the Netherlands to learn about different organisational models, approaches to public programming and supporting artists.
Francis Alÿs Sometimes ‘Making Something Leads to Nothing’ (1997) My Recent performance/Video work has been looking at the absurd; I have been doing rather than having done to me. I have looked at two contemporary artists who in their own […]
