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I am writing in support of the letter by a large group of artists in a-n Magazine, April, addressing the problem of unpaid design work public art commissions.

Why is ‘dyslexic’ such a hard word?

In response to Claire White’s letter in the November issue, I want to agree with her analysis of artists and how many find themselves as part of community projects and development.

Digital capabilities have revolutionised artists’ working practices, from transforming the kind of works they make to how they interact with each other and audiences.

Antony Gormley’s One and Other commission for the Fourth Plinth last year, and more recently Michael Landy’s Art Bin project at South London Gallery both suggest the emergence of a new form of artwork that has the capacity to engage mass audiences directly.

Peckham Space is open to continuing the debate on Mobile Conference initiated by Sonya Dyer in a-n Magazine (Debate, May 2009).

I’m sure most a-n Magazine readers have noticed the increasing frequency that they post off their exhibition opportunity submissions neatly packaged with a cheque inside. The amounts can vary dramatically and sometimes seem like money well spent.

I am writing to lend support to the ideas expressed in the letter How do other artists feel about unpaid public art competitions? (a-n Magazine, April).

We are self-employed sculptors with wide experience making artworks for the public realm.

I understand a-n is researching the minefield of public liability insurance for visual artists.

With inflation about to hit a ten-year high¹, to what extent can the practices of artists nowadays resist the pressures of the real world?

Every age rewrites its history in its own image. Each age produces art that reflects that image, whether consciously or not.

This month’s Opportunities focus on international residencies, will sit permanently on www.a-n.co.uk1 as a signpost to regular international residencies that have regular deadlines. Artist Michael Cousin2 has researched this focus alongside his busy practice as an artist, and offers some […]

As a former teacher now working for the past five years as a gallery educator and also a freelance artist I have been interested to follow the a-n proposals on artists’ fees.

This month sees the launch of AIR – Artists’ Interaction and Representation.

June marks the completion of a-n’s 25-year programme of research, debate and publishing.

Despite the fact that more people than ever before are going to galleries, the upsurge of festivals and public and the willingness of foreign collectors to buy British art, it’s clear from talking to artists that their bank accounts are in as dire a state as they’ve ever been.

The evolution of public art is an ongoing process and as an arts practitioner I contribute my share through work with Chrysalis Arts, which is currently celebrating twenty years of live and public art practice. As a co-founder and director I feel it is time for some reflection on the climate for creating artwork in public places and consider what the future holds.

A word of caution to all those who are considering the many commissions on offer in the NHS – a lot of money is available, but it brings its own unique risks. Having successfully tendered for a major commission at […]

I was interested to read Dominic Thomas’ article ‘Critical Contexts’ (a-n February) and wholeheartedly agree with his view that “many [professional development] schemes seem unable or unwilling to tackle the issue of the actual product of an artist’s labours”. ETA […]

Paul Glinkowski’s article painted The Laboratory at the Ruskin School of Drawing and Fine Art in a very favourable light, and was much appreciated in these parts. However, I should like to mention that The Laboratory would not have developed […]