12 Visual art representatives address the damage that will be inflicted by proposed spending cuts, in a letter to the Secretary of State for Culture, Olympics, Media and Sport.
This month’s blog selection.
As a response to this year’s Amsterdam Art Fair, the Unfair Project was set up by the ParachutArtists Foundation to explore the phenomenon of the contemporary art fair and art economy.
Cartwright Hall Art Gallery, Bradford, officially re-opened its upper galleries to the public in October with Connect, a new permanent exhibition that makes connections between works of art from different cultures and times.
Amongst all the hyperbole, buzzwords, philosophical stances, and fission and fusion of arts disciplines, there is a tendency to forget that the primary philosophical question that the visual arts sets out to address is “What is beauty?”
Lara Farrar asks “Has technology rendered the art critic obsolete or does it hold the key for the revival of the profession?”
Though the imprecision of ideas expressed in Dave Grimbleby’s letter (a-n Magazine October issue) hampers meaningful dialogue, I do think he is attempting to raise a set of common-place misconceptions and ill-conceived objections to contemporary art. Firstly, Dave is hostile […]
Emilia Telese’s opening essay offers analysis of the markets for art in the UK highlighting the ‘contradictions and idiosyncrasies’ of the relationship between artists and money,
Martine Rouleau wonders what or who is susceptible to change the market. Can artists adapt it to their own expectations and should the demands of the market influence artists’ work?
Formed in 1913, the London Group developed as an alternative to the conservatism of the New English Art Club (NEAC) and Royal Academy (RA), institutions which at that time gave (some) artists an opportunity to show their work through open submission.
Middlesbrough Institute of Modern Art (Mima) has opend its doors to the public after a major lottery-supported refit.
The next ARTfutures will be held at Bloomberg SPACE, London, 8-14 March.
Northern Art Prize, a new prize for contemporary artists, launched in November.
A seven-year campaign led by Littoral’s Ian Hunter and Celia Larner has saved Kurt Schwitters’ Merzbarn, in Elterwater Village, Cumbria for the nation.
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.
Grayson Perry on exhibiting in ‘The Raw and the Cooked’.
David Briers examines The British Art Show 4.
Godfrey Worsdale on artists who explore moral issues.
2006 is the sixtieth anniversary of the Arts Council Collection, the largest loan collection of post-war and contemporary British art in the world.
ArtSway, the contemporary visual arts centre in the New Forest, has announced that it has completed on the freehold purchase of its gallery and grounds, securing the future of the organisation and offering increased resources for contemporary visual arts in […]
From a-n Magazine May 1995 ‘Minky Manky’ at South London Art Gallery showed, amongst others, work by Damien Hirst and Mat Collishaw, along with Tracey Emin’s Love Tent; Christopher Pauling won the £4,000 Mostyn Open purchase prize; Leo Fitzmaurice and […]
Penny Klepuszewska, a 2003 graduate from Nottingham Trent University and Chris Boyd, a Manchester Metropolitan University second-year interactive arts student were joint winners of the UK Art Prize 2004, that attracted over 40,000 entries and created ten finalists. They shared […]
Neil Zakiewicz investigates the internet’s renowned promotional capabilities looking at the way a variety of artists are using their websites. For those who haven’t yet ventured into the virtual realm a twenty-minute strategy on where to start is offered.
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