Been working on a few things… Cardall Collection wise I’ve finished work on the introductory publication and will be printing and sending them out as soon as poss! I’ve now started research into people of southam; I’ve been particularly looking […]
It’s been a busy old week. I heard back from the letter I wrote about the third property, it was the agent and he is really behind the project so was going to speak to his clients and recommend they […]
Glad to say our drawing masterclass with Mr Nimki was fully booked and more. Hopefully, photos to follow? This is an interesting link in relation to aspects of his work, sent to meby artist Nicola Naismith (Satellite) of a body […]
During the 10 years or so I spent, either studying or working, at art college, I noticed that every year work was being wasted. After the degree show, the left-overs from the previous three years generally ended up (as a […]
It’s Burns Night and my thoughts are turning again to Robbie Burn’s poem, ‘To A Mouse.’ It’s one of my favourites and I’ve quoted it here before because of its uncanny relevance to what’s been happening in my life. The […]
Today I got the results back for Final Major Project 1. I was overjoyed to hear the news that I had got 77% which is fantastic and I feel like all my hard work was really worth it! As in […]
Today has been a very trying day. When things dont work it is easy to get very despondent. I really need to develop some technical skills and to buy some proper tools – how can I get things done efficiently […]
Flora Parrott, Pressure In/Pressure Out (detail), hand-beaten copper and honey, 60x60cm, 2009.
When faced with challenging times and a scarcity of resources, it is understandable that our instinct might be to retract and take fewer risks.
I wanted to let you know that this year marks the beginning of a new era for Aspex. We will continue to provide activities and services to artists, but without using the ‘ARC’ brand.
I wish to correct the impression given in Jon Wakeman’s piece about All Points North (‘Debate’, a-n Magazine, December 2011/January 2012) that Axis was responsible for ‘driving’ the project.
Glass, textiles and paving blocks by artists Susan Kinley and Steven Follen, commissioned by Crawley Borough Council and funded through a Section 106 agreement, were recently installed in the Bewbush area of Crawley, West Sussex as part of the Heart of Bewbush Neighbourhood Improvement Masterplan.
Whilst public art is distinctly ‘out of favour’ with Arts Council England cutting agencies as part of making savings, it’s interesting to see Creative Scotland taking a rather different tack.
With funding initially awarded in May 2010, the Skills for the Future training scheme from the Heritage Lottery Fund is offering paid training opportunities in museum and heritage settings across the UK.
Construction Gallery in Tooting opened its doors on 18 January with an ambitious site-responsive work by Alistair McClymont, and works by the project’s first residency artists Sam Robinson and Rebecca Lucraft.
Who is moving where this month.
Alan Dunn, James Thompson (Tomo), Robyn Woolston and The Drawing Paper’s Jon Barraclough and Mike Carney have been revealed as the shortlist for the 2012 Liverpool Art Prize when it returns for its fifth successive year.
As part of its Strategies for Survival programme, East Midlands Visual Arts Network is holding a series of roadshow events across the region, presenting an opportunity for new and prospective members to engage in critical discussion, to exchange ideas and information, to meet friends and make contacts, and to find out more about EMVAN and its future programme of activity.
Invited by W.A.G.E to kick-start their partnership with Artists Space – exploring potentialities for artists’ self organisation in New York – artist, economist and sociologist Hans Abbing presented a curious and ultimately frustrating case for … I’m not sure what.
“These are dangerous times for people and for our world of arts values … Uncertainty can cause us to be safe, edit complexity, be secretive, conservative” says Susan Jones in her provocation ‘Where is the place for art?’
OpenAIR, the first annual members’forum of AIR: Artists Interaction and Representation, offers a unique platform for artists’ dialogue and debate, empowered and enabled through speakers drawn from very different disciplines and fields of work, all committed to campaigning for effective change.
An abridged version of Dany Louise’s follow-up report on small visual arts organisations cut by Arts Council England, six months after her ‘Ladders for development’ enquiry. She asks: how have these organisations fared and what do their futures hold? Read the full version of this report with updates on all surveyed organisations: www.a-n.co.uk/realising_the_value
As an important part of platforming the debate around arts funding across the UK, with kind permission we re-publish the editorial introduction to “Language is never neutral” from Variant‘s issue 42.
Motion Disabled is a digital exploration of the bodies of people who are physically different.
