In the midst of a growth in performative and participatory art at international art biennials, Documenta recently confirmed the site of a new permanent institute in Kassel. Inspired by an academic conference on conserving contemporary art, Laura Harris assesses the challenges the institute faces in a climate where the experiential is increasingly taking precedence over the art object.
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A recent event at MAC in Birmingham brought practitioners and curators together to interrogate ‘the (in)visibility of disabled artists’. Anneka French reports on a productively critical discussion.
A group of artists in Bristol has coordinated a united front in the face of an Arts Council England visual arts review in which they feel they weren’t offered an equal seat at the table. They outline their intervention in a recent public consultation event while proposing a new approach for the city’s art ecology.
In light of funding cuts and the increasing emphasis on the digital sphere, the Director and Curator of the recently launched International New Media Gallery offer a view on the relationship between online and physical space.
Anna Berry continues her reflections on a curatorial residency at Midlands Arts Centre, in partnership with DASH. In this piece – co-published with Disability Arts Online – she gets her hands dirty and starts to learn some of the tricks of the trade.
In the first of a series of articles co-published with Disability Arts Online, artist Anna Berry writes about becoming DASH curator-in-residence at Midlands Arts Centre.
For the final Assembly event in the current series, a-n was in Cardiff for a day of discussion and debate around how to survive as a creative practitioner. Trevor H. Smith reports.
At the conference ‘Pivotal Moments: Professional Development Models for Mid-Career Artists’, staged by London Creative Network (LCN) in association with a-n, participants including artists Keith Piper and Erica Scourti, and Wysing director Donna Lynas discussed career development and the importance of institutional support for artists. Lydia Ashman reports.
The recent ‘Hope to Nope’ exhibition at The Design Museum ended in controversy earlier this month when artists and designers removed their work in protest at the museum hosting a private hire event by an arms manufacturer. One of those activist groups to remove their work was the artist-run organisation Keep It Complex, who share here what they learned from the experience.
The 10th Berlin Biennale, titled ‘We Don’t Need Another Hero’, sees curator Gabi Ngcobo and her team presenting a finely balanced exhibition that allows individual works to speak and collective ideas to be explored. Cathy Wade, one of 10 a-n Artist members who attended the Biennale preview, reports from the German capital.
Commissioned to write a 500-word comment piece, artists Kerri Jefferis, Sophie Chapman and Rosalie Schweiker started thinking about the words we use in the visual arts and the need for new ones. This is what they wrote.
Crafts Council’s recent Make:Shift conference in London addressed how new technologies are driving innovation in craft practice. Inspired by the two-day event, Mike Press of Duncan of Jordanstone College of Art and Design reflects on the challenges and possibilities that lie ahead.
As the first results from AIR’s Paying Artists Survey make clear, artists are finding themselves at the end of the arts food chain as funding cuts bite. Here, a-n’s Director looks at how things stand and suggests a future where practitioners determine the status of their art and of artists.
In a time of austerity, it’s become more important than ever for the visual arts to articulate their value to society. But, asks Claire Doherty, Director of arts producers Situations, what forms of evidence should be produced and whose criteria are we to use?
Zeitgeist Arts Projects present their research on open submission competitions and explain why they insisted on transparency for their own newly-launched Zeitgeist Open.