As Washington DC prepares for the 20 January presidential inauguration and the rest of the world is gripped/appalled by the latest predictably narcissistic Donald Trump Twitter outburst, London-based artist Sonya Dyer – who was on a residency in Nebraska during the election – reflects on her US experience and considers what the new era means for art and artists.
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Ferens Art Gallery in Hull has reopened after a £5.2 million refurbishment largely funded by Hull City Council. But while the local authority should be commended for its commitment to culture, Sheila McGregor argues that the blame for council cuts in towns and cities across the UK needs to be forcefully directed at Westminster politicians rather than hapless local representatives.
a-n’s Executive Director Jeanie Scott reflects on an incredibly busy year for the organisation that has seen the publication of the Paying Artists Exhibition Payment Guidance, wide-ranging support for artists through a-n bursaries, and membership reach a record high. And, despite an increasingly messy global situation, says there’s much to look forward to in 2017.
At IAA Europe’s recent annual two-day general meeting in Berlin, a key workshop discussed the issue of social security and the mobility of visual artists within Europe. Pippa Koszerek reports that, despite Brexit, such discussions remain important to UK artists.
Newcastle-based artist Kathryn Hodgkinson believes that the city council’s planning decisions are having a detrimental effect on the area’s creative community. In the wake of the recent decision to demolish the creative space Uptin House to make way for ‘yet another block of student flats’, she argues that local authorities need to embrace the true value of artists.
The New Art Gallery Walsall remains under threat of closure but gallery director Stephen Snoddy has vowed to fight hard to keep it open. Chris Sharratt argues it’s a battle that can’t be lost.
Artist Catherine Bertola is concerned that HMRC’s new ‘Making Tax Digital’ proposals, which the government claims will make tax administration more efficient and easier for taxpayers, will result in additional administrative pressure for many artists and self-employed freelancers with low and erratic incomes.
Hot on the heels of the closure of Inverleith House gallery in Edinburgh comes the news that Glasgow Sculpture Studios is to end its exhibition programme. Chris Sharratt sees worrying signs for the resilience of the visual arts sector in Scotland.
The just-opened ‘Abstract Expressionism’ exhibition at the Royal Academy chronicles a key moment in 20th century art, presenting some of the period’s most iconic works. Fisun Güner reflects on the significance of this last great age of the artist as hero and tortured genius.
This year’s Jerwood Drawing Prize continues its reputation for being deliberately provocative in its definition of ‘drawing’, with the top award going to a video piece. Lydia Ashman soaks up the medium’s shifting forms.
As many of the city’s artists bemoan their exclusion from next year’s UK City of Culture celebrations, Hull-based painter Paul Collinson looks beyond the 2017 spectacle and asks what the legacy will be for those living and working there.
Following the result of the EU referendum in June, a-n’s member survey was a chance to get a sense of how Brexit might affect visual artists. Dany Louise highlights some of the survey findings including examples of how the decision to leave the EU is already affecting members who regularly work, exhibit or apply for opportunities in Europe.
Liverpool’s largest artist-led gallery and studios The Royal Standard is celebrating ten years in the city with a major exhibition featuring 23 artists. Artist, curator and former TRS director Kevin Hunt explains the important role the organisation has for artists in Liverpool and its context in the wider artist-led scene.
Fisun Güner reports from art market debate at Phillips Auction House in Mayfair, London.
Laura Robertson reports on this year’s New Contemporaries in Liverpool as part of Liverpool Biennial.
We asked artists, arts organisers and writers to comment on how leaving the EU might affect culture and creativity in the UK. Here, writer and researcher François Matarasso, mima’s Alistair Hudson, Katrina M Brown of the Common Guild, Modern Art Oxford director Paul Hobson, and artists Haroon Mirza, Joseph Young and Gordon Shrigley give their views.
Clymene Christoforou of ISIS Arts, an organisation that works internationally with artists to produce and present contemporary art, film and new media, reflects on the spirit of collaboration that our EU status has enabled amongst British and European artists.
Geoffrey Brown of EUCLID shares his views on Brexit and provides a brief overview of practical implications for developing partnerships and applications for EU funding.
a-n’s Executive Director Jeanie Scott comments on the outcome of last week’s EU Referendum, and outlines how a-n will continue to support its membership as we navigate uncharted territory.
In a piece originally published by The Conversation, Eleonora Belfiore looks at what Tate Modern’s new Switch House extension says about the organisation’s attempts to engage with a wider, more socially and economically diverse audience.
Artist and a-n staff member Pippa Koszerek spent her childhood in Luxembourg and went to a European School with children from other member states. Ahead of tomorrow’s EU referendum Twitter debate, co-organised by Koszerek with artist Joseph Young, she offers a personal view on why artists should vote to remain on 23 June.
As the search continues for a new home to house Rogue Artists’ Studios, Bob Dickinson visits a show of work by 11 of the building’s 100-plus artists and asks where next for artists in Manchester’s fast-changing city centre.
With the announcement last week that James Richards is to represent Wales at the 2017 Venice Biennale, joining Rachel Maclean for Scotland, Phyllida Barlow in the British Pavilion and Jesse Jones for Ireland, Belfast-based curator Hugh Mulholland laments the continuing absence of a Northern Ireland presence at the world’s longest running art biennial.
A recent advert by Sainsbury’s in Camden asked for an artist to ‘volunteer their skills’ to refurbish the branch’s staff canteen, with the resulting social media storm prompting press articles and an apology from the supermarket. a-n Executive Director Jeanie Scott considers what the incident says about the barriers and misconceptions artists face.
At the recent two-day Social Making symposium in Plymouth, socially engaged practice was discussed in relation to Arnstein’s Ladder, a theory of citizen participation devised in the 1960s. Carolyn Black explores its relevance.