Artist and a-n staff member Pippa Koszerek spent her childhood in Luxembourg and went to a European School with children from other member states. Ahead of tomorrow’s EU referendum Twitter debate, co-organised by Koszerek with artist Joseph Young, she offers a personal view on why artists should vote to remain on 23 June.
A recent advert by Sainsbury’s in Camden asked for an artist to ‘volunteer their skills’ to refurbish the branch’s staff canteen, with the resulting social media storm prompting press articles and an apology from the supermarket. a-n Executive Director Jeanie Scott considers what the incident says about the barriers and misconceptions artists face.
A recent artists’ discussion at The NewBridge Project, Newcastle saw three pro-EU speakers stressing the importance of voting to remain in the forthcoming EU Referendum. North East-based artist Lesley Guy reports.
On Thursday 23 June, the EU Referendum will ask UK voters whether the country should remain a member of the European Union or leave. As the debate for and against Brexit intensifies, Munira Mirza makes the case for artists and those in the arts to vote to leave, while Clymene Christoforou argues that the UK should remain ‘at home’ in Europe.
What does it mean to be an artist and how does the romantic idea of the creative individual pursuing their passion impact on the reality of an artistic practice? At Creative Scotland’s recent Visual Arts Sector Review event in Edinburgh, Glasgow-based artist Rachel Maclean talked about this and more. Here we republish an edited extract of her provocation.
In a piece originally published by The Conversation, artist and 1997 Turner Prize nominee Christine Borland, professor of art at Northumbria University, argues that the prize needs to transcend its own ‘structures of power’ and instead find a way for the art itself to be centre stage.
This year’s Arts Council England and British Council-supported No Boundaries – billed as a symposium on the role of arts and culture – took place over two days at the end of September at Watershed in Bristol and HOME, Manchester. Featuring talks and discussion from an international cast of contributors, it once again had a live link between each venue and was also live streamed. Artist Julie McCalden reports from Bristol, while arts consultant Mark Robinson presents a view from the rainy city.
In a piece originally published by The Conversation, Jade French – a writer for Disability Arts Online – argues that, with an exhibition from Unlimited and other initiatives, this year’s Edinburgh Festival Fringe is foregrounding great art rather than paying lip service to diversity.
Written in response to the Alias annual gathering event, Moving Forward and Staying the Same: Artist Led Evolutions, AirSpace Gallery co-director Glen Stoker considers the continued importance of artist-led activity to the UK’s visual arts ecology.
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.
Good things are happening in Cardiff’s visual arts scene, with an energy and momentum that can be seen in the current Cardiff Contemporary festival. But, argues former Artes Mundi director Ben Borthwick, there is much that needs to be done if the biennial event – and Wales’ contemporary art scene generally – is to really fulfil its potential.
The current British Folk Art exhibition at Tate Britain provides a timely reminder of art as an expression of creativity and emotion. It is, argues Alistair Gentry, a compelling alternative to a ‘sick and twisted’ contemporary art world.
The shortlist for the inaugural East London Painting Prize didn’t represent the ethnic and cultural diversity of the area and, argues Gillian McIver, this reflects the UK art world’s stiflingly restrictive approach to artistic practice.
Why do so many artists get asked to work for free, so often? And what’s the best way for an artist to deal with these requests, and ensure they’re financially secure and their work is valued? Michelle Aldredge explores the problem and encourages ‘mindful decision-making’ as a way forward.
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.
London-based studio provider Acme celebrates its 40th anniversary with an archive exhibition at the Whitechapel Gallery, looking at its first decade. Co-founder and Chief Executive, Jonathan Harvey, discusses how a group of recent graduates formed a charitable housing association, launched Acme Gallery and became the self-supporting organisation it is today.
As the degree show season gets into full swing, Professor Tom Davies from Staffordshire University responds to a-n’s recent report on approaches to professional practice in visual and applied arts courses.
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?
As the economy continues to falter and budgets are cut, public funding for the arts is increasingly justified in terms of economic and social benefits. But, argues Shaun Glanville, this is futile and wrong-headed – a new approach is needed.
While Michael Gove’s recent scrapping of the English Baccalaureate Certificate is welcome, Q-art Director Sarah Rowles suggests that there’s much more work to be done when it comes to the wider issue of art education.
Dame Liz Forgan’s farewell speech has been widely reported on for its attack on Michael Gove and the EBacc. Here, arts strategist and Thinking Practice founder Mark Robinson welcomes her forthright approach while finding plenty to take issue with.
What can a new publication from the National Endowment for the Arts in the USA tell us about how art works?
Having navigated both cultural and physical obstacles to integration at this year’s Supernormal Festival, our correspondent explores the gap between good intentions and outcomes.
While the Olympics has helped highlight artistic, as well as sporting achievements, much still needs to be done to create sustainable careers in the arts.
The relationship between art and big business has often been a troubled and contradictory one. But does a forthcoming Cultural Olympiad exhibition of luxury cars painted by famous artists cross the line into pure brand promotion?
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