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Poster by Perry Hoberman, available from https://www.haironfire.org/free-images-1/
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Midwestern blues: Trump, a polarised America, and the curse and opportunity of ‘interesting times’

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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Pietro Lorenzetti, Christ between Saints Paul and Peter (c.1320), installation view, Ferens Art Gallery, Hull
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Saints preserve us: Ferens Art Gallery and why culture should be funded as an asset, not a burden

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.

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Paloma Proudfoot and Aniela Piasecka, performance of Made To Be Broken as part of the Platform exhibition at Edinburgh Art Festival 2016.
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2016 in view: “Out of the messiness came solidarity and collaboration”

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.

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Uptin House, Ouseburn, Newcastle
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Resisting gentrification: why we should fight hard to protect affordable creative spaces

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.

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Willem De Kooning, Woman II, 1952, Oil, enamel and charcoal on canvas, 149.9 x 109.3 cm, The Museum of Modern Art, New York. Gift of Blanchette Hooker Rockefeller, 1995, © 2016 The Willem de Kooning Foundation / Artists Rights Society (ARS), New York and DACS, London 2016. Digital image (c) 2016. The Museum of Modern Art, New York/Scala, Florence
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Abstract expressionism: a phenomenon, not a movement

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.

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a-n members EU referendum survey: “The impact of Brexit has been immediate”

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.

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Photo: © European Union 2016 - European Parliament".
(Attribution-NonCommercial-NoDerivatives CreativeCommons licenses creativecommons.org/licenses/by-nc-nd/4.0/).
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Post EU referendum: enabling conversations or the flight of cultural capital?

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.

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Post EU Referendum: “A strong collective voice to ensure artists are heard”

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.

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Willie Doherty, Ghost Story, 2007 (video still), courtesy the artist and Matt's Gallery, London
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Venice and Northern Ireland: No show at Biennale is holding country’s artists and curators back

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.

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Sainsbury’s ‘opportunity’: ludicrous, misguided and all too common

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.

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