Discussion - Page 5 of 23 - a-n The Artists Information Company

Being a first time buyer of your magazine I read your letters page with amazement. Is this really the first time that issues about the pretentiousness of the art world have been raised in such depth?

Antony Gormley’s One and Other commission for the Fourth Plinth last year, and more recently Michael Landy’s Art Bin project at South London Gallery both suggest the emergence of a new form of artwork that has the capacity to engage mass audiences directly.

Having just read the article about Weakening the Foundations in art and design I am not sure just what is Chris Milton’s gripe.

Through its ongoing research and dialogue with artists, a-n aims to identify themes that consistently appear in each and every artist’s requirements, no matter how diverse their practice.

Well done Renos Lavthis for your letter in support of John Nutt’s December letter with regard to the debate on art today.

When I look at many of the images and articles that frequently appear on various sites over the web and in contemporary art magazines including a-n, I can feel my whole artistic beingand personality sinking into some sort of hopeless psychological swamp or pit.

Following on from recent discussion in a-n Magazine surrounding the state of Higher Education, in this month’s Debate lecturer Chris Milton asks whether the future of Foundation courses is threatened.

I just wanted to thank everyone who wrote and contacted Arts Council England, re: the continuation of publicartonline (Debate, December-January).

The state of art education should, indeed, cause much concern to us all (Debate, November 2009).

Thank you John Nutt, you have put it so right in your December contribution (Letters, December-January).

Christopher Thomas reconsiders risk and success in art and blogging.

OK, I can’t stand it any longer.

At the end of another exceptional year for a-n The Artists Information Company, we are taking stock of some of the key milestones for artists this year, as well as forecasting for the climate in which artists might expect to be working in the next decade.

I read the October contribution to Debate by Tim Joss with pleasure. Although written for a political purpose it proved one of the most cogent and positive pieces of art criticism I have read in recent years.

a-n Magazine, November 2009 page six posed the question “should [there] be a return to a privately-funded [education] system?” I thought I’d share my own experience.

Arts Council England claims that “all our arts policies prioritise strengthening and developing the infrastructure for the artform” – so why, asks Andrew Knight, is the future of Public Art Online under threat?

The quality of art education offered in UK universities has been regularly under the spotlight in recent times. In this month’s Debate, an MA graduate gives an account of the critical situation, and proposes an alternative system to offer education for artists.

I think the issue with this government high street initiative is that it’s not part of a programme which attempts to actively deal with the underlying problems that have caused the recession in the first place.

The problem with ethical regulation in art or in any walk of life is that it is open to abuse and interpretation.

Is it only me who thinks there is something wrong with art education these days?

Over the last decade October has become synonymous with London art fairs, when our attention is focussed on the commercial market for visual and applied arts.

I have recently completed a PhD Thesis entitled: The Role of the Artist and the Influences of Patronage in Site-Specific Art. It was based in practice and involved conducting 3 public art projects. They were the BT/Cellnet, Farnham Library Garden […]