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Susan Jones on a US conference highlighting connectivity.

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

Artist S Mark Gubb talks to Magazine Coordinator Chris Brown as he prepares the last ever issue of a-n Magazine.

Access to professional development is vital to artists’ careers, so here’s something we think will help.

On 30 March, Arts Council England announced the winners and losers in the new National Portfolio Organisations (NPO) for funding 2012-15. Here’s a-n’s take on what’s happened, the likely impact on artists, independent arts professionals and the arts ecology as well as highlights from some of the many comments and discussions that are in train.

Thoughts from artists and arts professionals about how cuts in public spending will affect their future working pattern. Plus April Britski gives an account of how recent governmental decisions to cut arts funding have affected Canadian artists.

In December 2008, Worcestershire Contemporary Artists (WCA) was awarded a NAN Go and See bursary to look at different artist-led organisations in urban and rural areas. Emilia Telese talks to Nathaniel Pitt of WCA about the initiative’s development and the impact the bursary had on its activities.

What is an artist-curator? What makes a good collaborative partnership between a curator and an artist? What financial, practical and critical support is available to curators? Do you work with an organisation or go it alone?

Consideration for the environment along with building community engagement feature within some recent projects organised in Yorkshire, Scotland, Wales Northumberland and Derbyshire.

With a-n amongst the first to record its phenomenal impact through publication way back in 1991 of Live art, performance as it was then known, exhibited the characteristics of all that was innovative and edgy. In its introduction, Robert Ayers and David Butler commented: “Live art’s continued value and relevance is mirrored by the extent to which other live artists continue to come up with surprising, disconcerting new possibilities”.

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.

Highlighting digital and new media commissions, exhibitions, research and resource developments.

Publicly-funded arts organisations are exhorted to extend participation in the arts by getting more people actively engaged in off-site and public realm programmes. Alongside, those in the business world are increasingly aware of the advantages of bringing artists’ ideas into development and regeneration projects. Here we highlight selected projects happening over the summer within the wider public domain.

To preface a new ongoing series exploring relationships between artists and their collaborators, we asked some of today’s most interesting curators for insights into their practices.

Exploring the roles and reasons of selected organisations dedicated to widening access to the visual arts through commissioning temporary and permanent interventions in non-gallery spaces in the first of a two-part feature.

Gillian Nicol explores the nature of collaborative and creative processes involved in making artwork in the public realm.

Jane Watt examines NAN’s characteristics and its relationship to the current networking climate.

Foreword by Jane Watt.

Jane Watt on the first of two publications that give an overview of NAN activity to date (2006).

Extracts from the Curated space online think-tank presentations and discussions.