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2017 – How was it for you? #6: Grand Union, Birmingham

The Birmingham gallery and artists’ studios was added to Arts Council England’s national portfolio this year, marking a new chapter in its development. Programme director Kim McAleese and associate curator Seán Elder map out the before and after of “a pretty incredible year”.

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Platforms for change: what do artists really want from arts organisations?

The UK has the most highly developed arts infrastructure in the world. But, asks 2016-17 Clore Visual Artist Fellow Maurice Carlin in the first of two short provocations, imagine if it all disappeared overnight. Would it make a difference to your career? Would you still make art? And what do we want this infrastructure to do?

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Making rent, making work: the strapped for cash art

One half of the London-based performance company There There with Dana Olărescu, Bojana Janković argues that the economic pressures more and more artists face are ultimately shaping the kind of work that gets made, especially by emerging artists, with profound and long-term consequences.

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Models for mother artists: how to maintain your practice as a parent

Being a mother of young children and continuing your art practice is incredibly difficult. Inspired by a recent symposium exploring the challenges of being a ‘mother artist’, Frances Bossom – who presents a ‘Proposal for a Guide for Art Parents’ at June’s a-n Assembly event in Bristol – calls for an approach that values the complex reality of motherhood.

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A Q&A with… Laura Purseglove, project curator, Art and Christianity Enquiry Trust

As a member of Artangel’s production team, Laura Purseglove is used to site-specific working and navigating the complexities of staging art projects in historic buildings. All of which will be useful experience for her role at ACE Trust, where over the next two years she will be developing a programme of exhibitions and commissions for churches and cathedrals throughout the UK. Pippa Koszerek finds out more.

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