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Image courtesy of We Are Not Surprised (http://www.not-surprised.org)
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We are not surprised: open letter on sexual harassment in the art world

In response to recent allegations of sexual harassment within the art world and the resignation of Artforum co-publisher Knight Landesman, an open letter has been published by ‘art world workers’ calling for an end to silence around the issue and a renewed effort by individuals and institutions to deal with what it describes as ‘an environment of acceptance and complicity’. Here, we republish the letter in full.

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Claudia Rankine, 2016 MacArthur Fellow, New York, New York, September 7, 2016. Photo: John D. & Catherine T. MacArthur Foundation, licensed under a Creative Commons license: CC-BY
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Claudia Rankine’s The White Card: life-affirming response to ‘Black Death Spectacle’

To coincide with Soul of a Nation at Tate Modern, US writer Claudia Rankine presented a reading from her new play, which explores racism in the art world and beyond. Sonya Dyer found it a powerful vehicle for exploring the intersections of capitalism, race, empathy and resistance – particularly in light of the Dana Schutz Whitney Biennial controversy and a renewed focus on depictions of the Black body.

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Alistair Gentry wearing an 'artist's costume' for Venice Agendas: The Contract commission. Courtesy: Alistair Gentry
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Working for free: what’s to like?

Artists are often asked to work for free in return for exposure via social media likes and audience praise, so for a recent commission (paid) Alistair Gentry decided to walk around Folkestone dressed in a cliched ‘artist’s costume’ asking other types of worker if they’d do the same. Perhaps unsurprisingly, they weren’t particularly keen.

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Katriona Beales, Are We All Addicts Now?, installation view, Furtherfield Gallery, London. Photo: Pau Ros; Courtesy: the artist and Furtherfield
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Ethics, art and technology: the need for a human-centred approach

At a recent symposium in London, academics, technologists, artists and film makers gathered to discuss the politics and ethics of art technology. Artist and writer Alistair Gentry attended and was struck by the need for a much closer relationship between the tech and ethical tendencies in this ongoing and vitally important debate.

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Protestors outside Inverleith House, Royal Botanic Garden Edinburgh, on 23 October 2016. Photo: Chris Sharratt
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Ugly rumours: why Edinburgh’s Inverleith House has yet to be ‘saved’

When Inverleith House closed to the public last year, Royal Botanic Garden Edinburgh said it no longer intended to use it as a gallery for contemporary art. Now, as it hosts its first exhibition since the closure, Regius Keeper Simon Milne has said reports of its demise were just a “rumour”. Neil Cooper takes issue with this rewriting of history and cautions that the fight to truly save this renowned Scottish art gallery is far from over.

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1 Shanthi Road, Bangalore, artist residency space. L-R: Maurice Carlin, Clore Fellow; Suresh Jayaram, artist and founder-director 1 Shanthi Road; Jerrel Jackson, Clore Fellow; Archana Prasad, Clore Fellow and founder of Jaaga.  Courtesy: Maurice Carlin
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Platforms for change: what do artists really want from arts organisations?

The UK has the most highly developed arts infrastructure in the world. But, asks 2016-17 Clore Visual Artist Fellow Maurice Carlin in the first of two short provocations, imagine if it all disappeared overnight. Would it make a difference to your career? Would you still make art? And what do we want this infrastructure to do?

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Banu Cennetoğlu, BEINGSAFEISSCARY, 2017, various materials, Friedrichsplatz, Kassel, Documenta 14. Photo: Roman März
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Conserving contemporary art: practice, theory and the Documenta institute

In the midst of a growth in performative and participatory art at international art biennials, Documenta recently confirmed the site of a new permanent institute in Kassel. Inspired by an academic conference on conserving contemporary art, Laura Harris assesses the challenges the institute faces in a climate where the experiential is increasingly taking precedence over the art object.

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There There performing Text HOME at Experimentica in Cardiff (2014), having unpacked a single carry-on bag. Photo: Adam Chard
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Making rent, making work: the strapped for cash art

One half of the London-based performance company There There with Dana Olărescu, Bojana Janković argues that the economic pressures more and more artists face are ultimately shaping the kind of work that gets made, especially by emerging artists, with profound and long-term consequences.

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It Takes a Village: Models for Mother Artists event at Atelier Stroud, 23 April 2017, from 'Mother House' session with Dyana Gravina and Amy Dignam from ProCreate project. Photo: the Women's Art Activation System (WAAS)
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Models for mother artists: how to maintain your practice as a parent

Being a mother of young children and continuing your art practice is incredibly difficult. Inspired by a recent symposium exploring the challenges of being a ‘mother artist’, Frances Bossom – who presents a ‘Proposal for a Guide for Art Parents’ at June’s a-n Assembly event in Bristol – calls for an approach that values the complex reality of motherhood.

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Lubaina Himid, Naming the Money, 2004, installation view of 'Navigation Charts', Spike Island, Bristol, 2017. Photo: Stuart Whipps; Courtesy: the artist, Hollybush Gardens, and National Museums, Liverpool
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Turner Prize 2017: inclusion of over-50s reflects reality of artists’ careers today

Yesterday’s announcement of the 2017 Turner Prize shortlist saw two artists over 50 nominated – Hurvin Anderson and Lubaina Himid – reflecting the recent decision to drop its longstanding under-50 rule. Fisun Güner welcomes the change, arguing that it better reflects the reality of many artists’ careers while also ensuring a particularly strong line-up for this year’s prize.

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