Arts Council England’s latest consultation now launched focuses on self-assessment and peer review and you are invited to have your say.
With a-n amongst the first to record its phenomenal impact through publication way back in 1991 of Live art, performance as it was then known, exhibited the characteristics of all that was innovative and edgy. In its introduction, Robert Ayers and David Butler commented: “Live art’s continued value and relevance is mirrored by the extent to which other live artists continue to come up with surprising, disconcerting new possibilities”.
With half the UK’s population residing outwith urban conurbations, and regional and arts and cultural policies prioritising local engagement, locations often regarded as countrified are strategically raising their art world profile through imaginative programmes and project.
Highlighting digital and new media commissions, exhibitions, research and resource developments.
Publicly-funded arts organisations are exhorted to extend participation in the arts by getting more people actively engaged in off-site and public realm programmes. Alongside, those in the business world are increasingly aware of the advantages of bringing artists’ ideas into development and regeneration projects. Here we highlight selected projects happening over the summer within the wider public domain.
To preface a new ongoing series exploring relationships between artists and their collaborators, we asked some of today’s most interesting curators for insights into their practices.
Text-only version of a-n Research paper: Art work in 2007 with live weblinks.
This month’s Research papers: Art work in 2007 draws on intelligence held within the data researched and published continuously by a-n for our jobs and opportunities.
A review of the changing face of work for visual artists using a-n’s regularly researched and published information on jobs and opportunities. Presents an analysis of the key findings for 2007, concentrating on the work areas tracked since 1989, and opportunities such as fellowships, commissions, competitions, exhibitions and residencies.
Contents include: Can artists engage in collaboration without slipping into a parasitic relationship? Helen Knowles on her experiences. Reviews includes group show at Airspace Gallery, Stoke-on-Trent, Fiona Curran at Mac, Birmingham and Neil Webb at Bloc, Sheffield. Susan Jones explores […]
Exploring the roles and reasons of selected organisations dedicated to widening access to the visual arts through commissioning temporary and permanent interventions in non-gallery spaces in the first of a two-part feature.
Since November 2006, Arts Council England has been asking all across the land to add their views on the public value of the arts.
“Art should be recognised as a staple part of our everyday lives like bread, and in that respect it should be ordinary, albeit an extraordinary ordinariness, but no less essential in sustaining life.”
Advice from artists on assessing opportunities
Gillian Nicol explores the nature of collaborative and creative processes involved in making artwork in the public realm.
With inflation about to hit a ten-year high1, to what extent can the practices of artists nowadays resist the pressures of the real world?
Debra Savage’s case study-based research into the realities of professional artistic practice.
Are artists part of the problem when it comes to global warming?
Contents include: Is ‘Disability artist’ another label leading to ghettoised work? Notes from FASED’s panel discussion. Susan Jones on artists’ rates of pay. Focus on prizes and awards, new film fund and Midlands-based initiatives. JISC subscription package launched for universities […]
Foreword by Jane Watt.
Jane Watt examines NAN’s characteristics and its relationship to the current networking climate.
Paul Matosic’s letter (June issue) raises important issues for all artists for whom operating professionally is vital.
Summary of the 2005–06 Future forecast programme, marking a-n’s 25th anniversary, presenting an overview of a comprehensive enquiry into the conditions of art production in the UK. The introduction contextualises the evidence within the current social and cultural climate, with the final section setting out a series of measures across five key areas that will enhance artists’ developments.
June marks the completion of a-n’s 25-year programme of research, debate and publishing.
The Meeting of Minds Brain Sciences Project1 put citizens from nine European countries in open dialogue with brain scientists and policymakers, to explore and make decisions on key future concerns.
