A large gap exists today between the reality of being an artist and the image of The Artist which is portrayed by history and media, and perceived by the general public. Rich White asks what do artists actually do for society, how can they help with regeneration, particularly in a time of recession, and what is its real value?
I feel there is an undercurrent connecting the debate initiated by Jon Bowen’s letter ‘Intellectual Bankruptcy’ (a-n Magazine, May 2010) and Sarah Rowles’ ‘Art for All? Radical pedagogy vs. a desire for education’ (a-n Magazine, July/August 2010).
Glad to see that a-n is giving space to debate the activism of Liberate Tate and the relationship between oil, art and sponsorship (a-n Magazine,September 2010).
As a professional gambit, the independent artist and the freelance arts professional has always benefited from a degree of flexibility, responsiveness and even spontaneity and reinvention when negotiating their engagement within the visual arts sector.
In response to Stephen Black’s letter (a-n Magazine, September 2010).
Did Cathy Lomax actually say, “Cuts basically mean that people that don’t have a privileged background will not be able to make art” (‘Reflections on the arts funding crisis’, a-n Magazine, September 2010)?
In the lead up to the Government Comprehensive Spending Review, the proposed closure of the UK Film Council and The Museums, Libraries and Archives Council was communicated to most through an announcement in The Guardian in July¹.
We are heading for straitened times. The UK’s government departments have been ordered by the Treasury to plan for unprecedented cuts of 40% in their budgets as the coalition widens the scope of its four-year austerity drive.
12 Visual art representatives address the damage that will be inflicted by proposed spending cuts, in a letter to the Secretary of State for Culture, Olympics, Media and Sport.
Many of us will submit work to prestigious ‘open submissions’: the Royal Academy summer exhibition, Jerwood Drawing prize and other major events, attracted by the idea that the democratic process of selection will allow us a share of the limelight.
Jonathan Baxter asks if Liberate Tate’s interventions and protests at Tate’s recent celebration of BP’s sponsorship is representative of growing concern that such sponsorship is compromising the integrity of artists and arts organisations alike.
In the face of a new political era compounded by an unprecedented financial climate, the need to forecast our future living and working conditions is urgently felt.
I’ve been thinking about Jon Bowen’s letter in a-n Magazine
Approaching this ongoing debate in a-n Magazine from back to front, I read with interest David Minton’s lyrical and provocative text in his Artists Talking blog, sat with it for a few days, and was moved to repost it on my website, before reading the previous month’s correspondence.
In a recent presentation to peers, tutors and her Goldsmiths degree show audience(s), Sarah Rowles asks: Does art education come with a key to understanding art and making more informed judgments about art?
Whether you are an artist or someone who works with artists, to be able to fully realise the creative ambition of a project you need to be able to negotiate effectively. This is the ongoing focus of our Collaborative Relationships series, which aims to expose the nuts and bolts of how artists work with their collaborators, whether that is another artist, a curator, commissioner or another type of creative partner.
JB is too quick to dismiss the value of higher education at art school (Letters, a-n Magazine, May 2010), and I hope you’ve had an overflow of protest to his letter. In my experience, it has a multitude of failings, […]
Angelia Seik’s letter (Letters, a-n Magazine, May 2010) claims that artists don’t have the sense to form a union that would give them a necessary mouthpiece. This isn a-n Magazine June 2010
Angelika Seik berates artists for “not having the sense to organise themselves into a union” (Letters, a-n Magazine, May 2010). Of course as visual artists north of the border are well aware the Scottish Artists Union formally constituted as a […]
There is a new way in the UK, it’s called AIR. It is not a union but represents 14,000 artists, with more joining all the time. This number of artists cannot be ignored in these extremely difficult financial times! Let’s […]
What does the country’s new government mean for the visual arts? Can the Cameron-Clegg alliance steer us through a recessionary climate intact? Last month Jeremy Hunt, the new Culture Secretary, announced in a TV interview on Newsnight that the Department […]
In a recent editorial I recalled a-n’s Code of Practice for artists and how its list of key principles can be used to inform decision making and negotiations in all aspects of an artist’s professional work. The first of the four principles – Contribute Confidently – seems particularly apt to this issue, in which the theme of Risk is identified as an underlying condition to several stories and features.
A response to the recent Debate piece: Why are artists poor?
A response to the recent Debate pieces: Weakening the Foundations and Why are Artists Poor?
As an artist, curator and writer Rachel Marsden considers the importance placed on the written word in conveying artworks to visitors.
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