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Samuel Dowd and Hayley Skipper of SpRoUt respond to Import/Export.

Clive Gillman, currently the lead artist for FACT explains how the organisation works to support and promote artists using new and emerging media tools.

Here, we profile a selection of courses offering postgraduate level study for artists seeking to develop their practice further within creative, supportive and critically challenging environments.

It would seem that politics has taken centre stage in contemporary art.

Isabella Streffen on her own research and its relationship to the Import/Export event

A-n Director of Programmes Susan Jones reviews artists’ jobs and opportunities over the years.

Illustrating the approach she brings to her new role at [a-n], Gillian Nicol highlights some of the challenges and opportunities for artists and their practice today, looking broadly at education and employment, status and lifestyle and the impact of widening access to technology.

David Butler discusses the shift in government policy that increasingly recognises the role of artists in contributing to ‘social inclusion’ initiatives and welcomes your response.

We’re proud of what a-n Magazine has achieved over its thirty-two years. On the occasion of the last print edition we invited many of our collaborators and contributors to help us celebrate and mark this moment by giving us a ‘few words’ – a short testimonial of what a-n means to them. Here, they reflect on our significant role for artists and on the value of a-n Magazine, publications or initiatives.

A-n Magazine May 1998: Increasingly, interdisciplinary or collaborative working processes are being used by artists, both as a means of extending their knowledge and personal experience and to create partnerships in which artists move beyond the close confines of the art world and can more readily address social, political and environmental concerns, we asked six artists, for whom collaborative working is a driving force, to describe their approaches and concerns and to provide some analysis of the issues an questions which have arisen.

A good proposal is like a conversation. To begin a really good relationship, you’ve got to find out as much as you can about who you’re talking to and what they’re interested in. This is the basis of making a successful pitch.

A-n’s Collaborative relationships series exposes the working relationships between artists and the wide range of professionals they collaborate with. Running in its current format since 2008 we now have a rich archive of over thirty articles covering hugely varied projects. Here, some select quotes offer highlights and insights into the nature of collaboration.

In December 2010 the Arts Council of Wales announced its new portfolio of revenue clients. From 116 existing clients more than thirty were lost. Five months on we asked the sector what the impact has been and how the visual arts in Wales has reacted, and what England might anticipate following last month’s ACE announcements.

Curator Lauren A Wright discusses her ‘journey’ to Margate.

Director of Situations Claire Doherty and artist Stephen Hodge (of Wrights & Sites) give their account of how they developed a contemporary public artwork to reanimate visitors’ experiences of Weston-super-Mare.

Selected round-up of forthcoming events, training courses and professional development opportunities from the world of new media arts and imaging.

At the beginning of March this year, the Arts Council of Wales hosted ‘Arts in Health and Well-being’, a conference about prevention, intervention and creative action in healthcare.

Artist Christine Wilcox-Baker recounts her residency at Tatton Park with Gardens Manager Sam Youd.

Audience development is core within galleries and arts organisations seeking diverse participation in programmes. Here, we examine how they create accessibility, inclusion and encourage learning and engagement with artists and artworks through activities including workshops, residencies and other projects.

In a response to a request to consider issues around ‘rural arts practice’, Veronica Vickery writes in the light of the events, performances, installations and seminar that made up BOS-08 and a BOSarts research trip, funded by ALIAS to Grizedale and Allenheads Arts in August 2008.

Art at the Centre is an award scheme from Arts Council England, South East that seeks to involve artists from the outset of regeneration projects across the region. As part of this scheme, Maidstone Borough Council looked to develop an Artists’ Quarter in the heart of the town to promote the area’s wealth of creative talent. Here video-media artist Margherita Gramegna and consultants FrancisKnight talk about their involvement in this process and the resulting work, Artists Don’t Bite.

With half the UK’s population residing outwith urban conurbations, and regional and arts and cultural policies prioritising local engagement, locations often regarded as countrified are strategically raising their art world profile through imaginative programmes and project.