With the recent announcement by the Arts Council of Northern Ireland that both QSS and Paragon Studios in Belfast have lost all their annual funding, Damian Magee addresses the impact of the decision on the city’s artist community and argues that it is indicative of a general lack of support for artists living and working in Northern Ireland.
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Build Your Own Art World was a one-day seminar at OSR Projects in Somerset that considered what it means to be artist-led and if there is an alternative to a global gallery system. For Julie McCalden, it highlighted the need for artists to resist the behaviours the art world encourages them to adopt.
With reference to Edmund Clark’s current Ikon Gallery exhibition ‘In Place of Hate’ – the result of three years as artist in residence at the therapeutic prison HMP Grendon – a recent symposium in Birmingham explored the role of art and its use as a rehabilitative tool. After a day of talks and presentations, Carrie Foulkes finds her belief in socially-engaged practice reaffirmed.
a-n Research editor Dany Louise highlights content that focuses on education in schools and universities in our growing, free-to-view index of visual arts cultural policy and strategy documents.
Do the pressures of being an artist, with the precariousness of funding, the demands of unrealistic deadlines and the need to be seen to succeed and deliver consistently, make talking about depression and mental health tantamount to career suicide? Artist and writer Alistair Gentry, who has suffered with depression since a teenager, thinks the answer is ‘Yes’ – but that the issue is too important to keep quiet about.
Over 100,000 children a year will lose the chance to study the arts when the EBacc becomes compulsory in schools in England and the least privileged will lose out most. Is this a conspiracy or a cock-up, asks ArtsProfessional’s Liz Hill.
Writing for a-n News in August 2016, Hull-based artist Paul Collinson called on the City of Culture legacy team to “set foot outside their fortress and talk to those who will be left behind to carry on the good work”. Now, after the city’s high-profile year of cultural activity, he looks back over the year and asks, “Where next?”
Lubaina Himid has approached the fanfare surrounding her Turner Prize win with characteristic low-key charm and generosity. Sonya Dyer hails her influence and achievements and hopes she will now be properly recognised as a contemporary artist making vital work today.
With too many artists’ residencies excluding those who don’t have independent means of support or who have responsibilities at home, Alistair Gentry welcomes Wysing Art Centre’s new residency programme and calls for more of the same from building-based arts organisations.
A group of artists in Bristol has coordinated a united front in the face of an Arts Council England visual arts review in which they feel they weren’t offered an equal seat at the table. They outline their intervention in a recent public consultation event while proposing a new approach for the city’s art ecology.
The recent ‘What Should White Culture Do? Art, Politics, Race’ brought academics and artists together for a day-long symposium at the Royal College of Art. Sonya Dyer contends that, judging by the approach of some of those talking at the event, the answer to the question is, ‘Much more than this’.
The American art historian and author of the groundbreaking 1971 essay, Why Have There Been No Great Women Artists?, died on 29 October aged 86. Fisun Güner considers her writing’s influence and continued significance today.
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.
Commissioned to write a 500-word comment piece, artists Kerri Jefferis, Sophie Chapman and Rosalie Schweiker started thinking about the words we use in the visual arts and the need for new ones. This is what they wrote.
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.
For the latest in our series providing a snapshot of visual arts scenes across the UK, Amelia Crouch reports from Bradford.
The debate around gentrification and the role that artists play in this contested area is increasingly being discussed and debated by artists themselves. But, asks Anna Francis in a piece originally published by The Conversation, is it right to accuse artists who work with regeneration projects of being part of the problem?
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.
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.
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.
The recent Artist Hotel event organised by Bristol’s Knowle West Media Centre involved an overnight stay in a community centre as part of a wide-ranging discussion about community art and artist-led regeneration. Rowan Lear reports.
In the second of two short provocations inspired by his time as the 2016-17 Clore Visual Artist Fellow, Maurice Carlin reflects on his uneasy relationship with the art world and proposes artists think beyond the opaque and insular system of endorsement and patronage that defines it.
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?
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.
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.