We settle in to Theo Wood’s fictional space, The Museum Of Space Exploration, to talk museum objects, planets bereft of water, Arnolfini workshops and preparation for her MA show at University of the West of England.
Artists and co-mentors Ania Bas and Ruthie Ford explore socially engaged issues, language and practice. Here they talk to Andrew Bryant about the importance of process, their collaborative blog and the artists’ relationship to critical reading, writing and debate.
This Research paper forms part of a series that looks specifically at the nature and value of openly-advertised work and opportunities for visual and applied artists. Drawing on data published on www.a-n.co.uk/jobs_and_opps, this series set out in 2007 to track on an ongoing basis the key categories of awards/fellowships, academic posts, art vacancies, commissions, exhibitions, residencies and competitions/prizes, and by doing so, to identify any trends arising, and provide commentary and contextual evidence and analysis from other related sources, to contribute to arts and cultural consultations and policy.
Shisha, the Manchester-based agency for contemporary South Asian crafts and visual arts has closed.
An initiative by leading artists’ organisations aims to improve artists’ access to funding for their practice.
Jack Hutchinson gets to grips with the latest digital networking tool and asks: how and why should artists be using it?
Flow is a tidemill, a floating building on the River Tyne that generates its own power using a tidal water wheel and houses a range of musical machinery that responds to the river. It is one of the twelve Artists taking the lead’ commissions to celebrate the London 2012 Olympic and Paralympic Games. ~Flow is the brainchild of the artist group Owl Project and producer Ed Carter: To bring their fantastical idea to life required the skills and expertise of a diverse range of professionals, including Nicky Kirk, a chartered architect; Amble Boat Company; and David Willcox, a waterwheel designer. Here David, Ed and Owl Project talk about their experience.
Frances Lord explores the practice of Chien-Wei Chang, his route into making and how his cultural background is reflected in his work.
Reyahn King explores the role of galleries within professional development for visual artists. In the current climate, how can professional development for visual artists be continued and improved? This paper suggests that one answer lies in the relationship between publicly-funded regional galleries and visual artists becoming wider, deeper, and more strongly valued.
Newcastle based artist, writer and blogger Iris Priest is currently one of AA2A artists in residence at Northumbria University. Here she talks to Andrew Bryant about art as an ‘impulse’, the driving engine behind CANNED, the magazine she edits, and the ‘binding’ nature of language.
Early in March I was in Margate for the National Federation of Artists’ Studio Providers’ (NFASP) AGM and a series of events designed to bring artists and studio providers together to share experience, intelligence and generally bond.
Rosanne Robertson delves into the a-n archive and unearths a rich history of artists’ practice.
Artists Sally Lemsford and Elizabeth Murton reflect on AIR’s first annual members forum, OpenAIR: Effecting Change. Interview by Jack Hutchinson.
Profiling two education programmes that provide a variety of entry points to artistic practice and encourage audience participation via tours, symposia, courses and workshops as well as performances and events.
In April 2010 six young people from North Glasgow were given the unique opportunity to explore life in a completely different way and to interpret what they saw using photography within contemporary art.
Last month’s announcement that June would be the final copy of a-n Magazine in print has generated some questions which we’re responding to here for the benefit of all readers.
Artist, horticulturist and a-n Communications and partnerships team member Maggie Tran sowed the seeds of her practice through volunteering and event programming. As working life flourishes she takes us to the tip of her roots to tell the tale.
Peter Martin, Sheffield-based artist, and curator of the graduate show ‘Repercussions’ at The Old Market Gallery in Rotherham, talks to Richard Taylor about pulling together exhibitors from across the UK and producing a show representative of both physical and virtual research into 2011 degree shows.
We catch up with Beth Webster, in her final year of her Fine Art degree at Lincoln University, and talk about the concept of beauty, histories of found-objects in art and the ‘spin’ of self in one’s practice.
DACS is spearheading research into how artists can make more income from their assets.
Newcastle’s Side Gallery and Cumbria’s Lanternhouse are amongst organisations whose bids for Arts Council England’s National Portfolio Organisation status were not successful.
The social media revolution has had a significant impact on the ways artists work. Here we focus on a selection of projects that artists have developed through online collaboration, sourced via our Twitter and Facebook followings.
Access to professional development is vital to artists’ careers, so here’s something we think will help.
Torsten Lauschmann, byt, projection, oak boards, various objects, dimensions variable, 3″ (loop), 2011. Photo: Ruth Clark. Courtesy: Mary Mary, Glasgow; Dundee Contemporary Arts.
From subsidised studio and accommodation to one-on-one mentoring sessions, here we spotlight a selection of residencies that provide support to artists across the UK and beyond.
Read guides and profiles that offer valuable information, insights and strategies on art practice from a range of expert voices. Plus extensive archive of past publications.
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