Commentary arising from research into local authority arts organisers’ needs, aspirations and modus operandi, revealing how they value and engage with artists and the approaches they take to their own professional development and to supporting the environment for contemporary visual arts.
Profiling studio and workshop facilities around the country, plus ambitious exhibition projects that are engaging with local communities.
Artists Bruce Gilchrist and Jo Joelson and curator Emma Underhill discuss their collaboration on a project to create a sculptural ‘habitat’ that will contribute to the life cycle of birds in two urban garden locations.
In these exceptional times, practitioners and arts professionals need to ensure their messages have clarity when making the case for the arts.
Have just picked up on the Liberate the Tate Debate (a-n Magazine, September and October 2010) and will begin by emphatically stating that I am no apologist for the Oil Industry.
Stephen Black suggests that many of the major ‘open submission’ art events are less than democratic in their selection, and therefore a disproportionate number of artists are wasting their money by entering (a-n Magazine, September 2010).
As an artist who has entered open submissions and as a manager of an artist-led, not for profit gallery space (Core Gallery, Deptford) which held its first open submission this year, I feel I can give a slightly different insight into this subject than those laid out in the last two issues of a-n, as to what your open submission fees actually go towards (a-n Magazine, September and October 2010).
The Royal Academy of Arts wishes to record its objection to the published letter by Stephen Black in the September issue of a-n Magazine (Great open submission swindle).
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?
Contents include: Artists and curators talking, professional development and rural initiatives features: In Debate: Helen Sloan argues that we need to define the visual arts and stand up for its meaning before taking on philanthropic funding. Kate Genever and poets […]
In the twenty-five years since its foundation, Castlefield Gallery has evolved, adapted and outlived many of the buzz words first used about it, but one thing has remained absolutely constant – its aim to support artists.
Artist Kate Genever and poets Jo Bell and Ann Atkinson discuss their collaboration on a public sculpture project in the Peak District, creating contemporary sculptures in response to early eighteenth-century guidestoops that stand across the Derbyshire moorlands.
On 2 September, the BBC posted a news story on its website claiming that “Two-thirds of people agree with the government’s stance on cutting arts funding and increasing reliance on private cash, a survey has suggested.”
A guide to career development and training opportunities as well as related services and resources that are designed to help artists and makers take their practice to the next level.
Frieze Art Fair 2010 is fast approaching, and with over 170 galleries exhibiting in Regent’s Park this year, London’s most influential art fair is bigger than ever.
This month’s selection of shortlists and winners.
Featuring a selection of the UK’s arts organisations that are providing vivid cultural life to rural areas.
The annual Craft Curators Forum, a networking and discussion event from the Crafts Council, was held in London 23-24 September.
Alongside AIR’s campaigns and work looking at the issues affecting artists, a group of AIR activists (myself included) have volunteered to play a more active role; raising awareness of the value of artists. These are early days in what will hopefully prove to be long-term and ever-widening effort, but conversation has begun and some activists already have events planned.
A-n and Axis are launching a new programme of dynamic, practice-led discussions on hospitality, space and contemporary art making, researched and directed by artist, curator and writer Sonya Dyer. Here, she sets out her thinking for the programme.
Dolly Thompsett, Night Landing (Blue)
John Stark, Rose Garden, oil on wood panel, 50cm diameter, 2010. Image courtesy of the artist and CHARLIE SMITH london.
Man & Eve, London
1 July – 14 August
VIVID, Birmingham
29 July – 21 August
Waterside Project Space, London
2 July – 15 August
