On the cover – 2012 May
Angela Smith, Canine, gloss, enamel and oil on canvas, 38x38cm, 2011.
Angela Smith, Canine, gloss, enamel and oil on canvas, 38x38cm, 2011.
We’ve been pleased with the response to news of developments at a-n.
I was deeply saddened by the announcement from ArtSway that the organisation is to close this summer.
Katie Smith asks: are social media-led artists’ projects a challenge to the traditional model of participation in the arts?
Thirty-eight artists have been selected from more than 600 hundred applications for the 5th Oriel Davies Open exhibition (Oriel Davies Gallery, Newtown, until 27 June). “Works presented use diverse materials and visual techniques to push boundaries – such as challenging […]
A guide through six years of professional artist practice by Kai-Oi Jay Yung; an artist whose track record adheres to a-n’s ongoing mission to provide resources for graduates and early career practitioners as they step up the ladder and beyond.
Frances Lord explores the practice of Chien-Wei Chang, his route into making and how his cultural background is reflected in his work.
Reyahn King explores the role of galleries within professional development for visual artists. PDF file [150kbs]
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.
Newcastle based artist, writer and blogger Iris Priest is currently one of AA2A artists in residence at Northumbria University. Here she talks to Andrew Bryant about art as an ‘impulse’, the driving engine behind CANNED, the magazine she edits, and the ‘binding’ nature of language.
Phil Lambert, the illusion of colour and space no 1, 414x517mm, oil on wood, 2011.
Tom Burtonwood’s statement “a-n is not so much a magazine as a way of thinking and positioning ideas” in 2006 is perhaps no more relevant than right now.
I have just read on AIR that another arts initiative, Lanternhouse, is closing.
Early in March I was in Margate for the National Federation of Artists’ Studio Providers’ (NFASP) AGM and a series of events designed to bring artists and studio providers together to share experience, intelligence and generally bond.
Registration is now closed for the John Moores Painting Prize 2012 and the judging process is underway.
Arts centre in rural Cambridgeshire announces unprecedented interest in its artists’ residency programme.
Arts Development UK (AD:uk) has developed a scheme that enables members to earn credits for annual professional development and training experience, certificated through a Fellowship programme. Credits come from a range of professional development initiatives including services provided by AD:uk and others.
UK survey raises issues of social value and economic survival. Frances Lord reports.
Rosanne Robertson delves into the a-n archive and unearths a rich history of artists’ practice.
Two recent reports highlight the need for leading galleries and museums to better support contemporary artists and their practice.
CAVE will take place in Liverpool during the opening weekend of the 7th Liverpool Biennial this autumn.
In March, crowdfunder WeDidThis – a partner in a-n’s Granted professional development programme – merged with Hugh Fearnley-Whittingstall’s PeopleFundIt platform.
RSA research highlights artists’ leading role.
Former Waygood Gallery and Studios relaunches as Baltic outpost.
Artists talking Online Editor Andrew Bryant looks to the Projects unedited blogs to consider the enduring question: Why be an artist?