While strategies to pay artists better are forging ahead in the UK, this vital issue is also on high on the agenda in some other countries. Susan Jones reports on Working Artists: aspects of art and labour, a recent conference in South Korea which she also spoke at.
Does joining with higher education institutions bring a promise of financial stability for cash-strapped arts organisations, alongside an increase in audiences? a-n Director Susan Jones reports from an Arts Council England conference that sketched out a new landscape for the contemporary arts.
In her provocation for the Art Party Conference in Scarborough, a-n Director Susan Jones argues that while it’s widely stated that artists are the main menu in the gallery and exhibition process, new approaches are needed to provide the financial support they need. Here, we publish an edited version of her full presentation.
The Ask The Audience debate in Leeds was conceived as a challenge to the arts funding status quo and featured a panel of arts professionals including a-n’s director. Co-organiser Phil Kirby reports on how the event went.
The idea of an ‘American Model’ of arts funding is gaining traction in the UK along with growing calls for artists to be ‘entrepreneurial’. But, writes American critic and curator Andrew Horwitz, the funding system in the US is deeply problematic, while those who espouse entrepreneurship miss the point that the real ‘business of art’ is not for profit.
What do the recent Frieze Art Fair acquisitions by Tate, funded by philanthropic contemporary art fund Outset, tell us about the art market, the place of artists within it and the influence these organisations wield? A painter and non-Frieze exhibitor writes.
As Frieze Art Fair opens this week, a-n’s Director asks if we need to think about how art market growth could aid artists’ careers.
With the announcement last week that James Richards is to represent Wales at the 2017 Venice Biennale, joining Rachel Maclean for Scotland, Phyllida Barlow in the British Pavilion and Jesse Jones for Ireland, Belfast-based curator Hugh Mulholland laments the continuing absence of a Northern Ireland presence at the world’s longest running art biennial.
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