MISC.©R-HR2005-2023 Contemporary Art Critical Theory R-H Robinson 2012 Bookplan #4: Contemporary Fine Art and Society Art Practice and Theory Postmodern aesthetics supports the industrialization of culture as commodity- the use of audience and spectacle key to the production and consumption […]
Gary Hume reflects on his successes during the 1990s and on being “prepared to risk my career for being an artist.”
Richard Billingham reflects on the turning points in his photography and experimental films, which he began making during the 1990s.
Catherine Bertola and Rosie Morris provide a platform for women artists and writers to highlight less visible, marginalised and precarious practices in the second series of our magazine style publications celebrating the a-n archive.
Catherine Bertola and Rosie Morris provide a platform for women artists and writers to highlight less visible, marginalised and precarious practices.
Jane and Louise Wilson discuss the start of their artistic collaboration in the 1990s, and how a-n is “an essential resource.”
2020 graduate Jody Mulvey discusses founding SADGRADS and her hopes for the future.
2020 graduate Miya Browne considers the role of art and the artist in the 21st century and outlines their vision for the future.
Brian Catling reflects on his work in the 1980s and explains how he made his first performance piece at Whitechapel Gallery “by divine accident”.
Sunil Gupta discusses making work about the experiences of gay men in his hometown of Delhi and setting up Autograph in the 1980s.
Royal College of Art graduate discusses campaigning during the final year of his MA, and going from RCA painting student rep to supporting with Pause or Pay UK – from the backroom of a café in Cyprus, where he has spent two months tracing his family and find his grandfather’s birth certificate.
Textiles artist discusses how arts organisations need to better engage deaf and disabled artists, and how the coronavirus pandemic presents a time for change and opportunity.
Nine artists selected to take part in UP Projects and Flat Time House’s free programme exploring socio-political issues, community-oriented practice and/or public contexts to develop their practice whilst collaborating with others.
Artist and a-n Artists Council Chair discusses his recent performance Mayfly On Wheels, how he feels institutions need to address systemic racism, and the important role artists can play in this process.
A lockdown project exchanging artwork with other artists, displaying it and discussing the process.
West Dean College of Arts and Conservation, Graduate Diploma Fine Art, MFA. 13 July 2020 – January 2021. For the first time, graduating students from the Fine Art programmes at West Dean College of Arts and Conservation will be hosting […]
The just-published 32-page guide includes an expanded ‘Class of 2020’ section featuring images and insight from both graduating students and lecturers, plus there’s an extensive interview with collaborative duo Jane and Louise Wilson, and collectives from around the UK discuss why ‘putting heads together to collaborate is an artistic no brainer’
As Brexit gives way to Covid-19 as the defining factor shaping all our futures, Chris Sharratt asks lecturers and course leaders about the kind of art this year’s graduates are making. “I think this stuff comes from an anxiety about […]
Support and advice from across the arts sector, plus wider government and NHS guidance, following the coronavirus Covid-19 outbreak.
For the first time, John Moores Painting Prize is offering a new Emerging Artist Prize with the winner receiving £2,500 in prize money plus money for art materials and a residency at Elephant West. John Moores Painting Prize Project Manager Katherine Lloyd explains more about the award.
Within UK universities, visual artists are working across university departments in many different ways ranging from arts and health initiatives, residencies and cultural heritage projects to commissions, teaching and PhD research. Artist Steve Pool identifies some key ways artists are working within HE and considers the value of such relationships to both artists and institutions.
