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.
A recent artists’ discussion at The NewBridge Project, Newcastle saw three pro-EU speakers stressing the importance of voting to remain in the forthcoming EU Referendum. North East-based artist Lesley Guy reports.
On Thursday 23 June, the EU Referendum will ask UK voters whether the country should remain a member of the European Union or leave. As the debate for and against Brexit intensifies, Munira Mirza makes the case for artists and those in the arts to vote to leave, while Clymene Christoforou argues that the UK should remain ‘at home’ in Europe.
The recently published white paper on culture, the first since Jennie Lee’s 1965 Policy for the Arts, was hailed by culture minister Ed Vaizey as presenting a “bold new vision”. Mark Robinson begs to differ.
What does it mean to be an artist and how does the romantic idea of the creative individual pursuing their passion impact on the reality of an artistic practice? At Creative Scotland’s recent Visual Arts Sector Review event in Edinburgh, Glasgow-based artist Rachel Maclean talked about this and more. Here we republish an edited extract of her provocation.
Are initiatives aimed at disabled artists just a way to make the arts sector feel good about itself, an exercise in discrimination when what is really needed is an even playing field? Cornwall-based artist Stacey Guthrie argues that what is really required is more inclusion and less segregation.
Artist Ellie Harrison’s year-long Glasgow Effect project has attracted widespread outrage on social media and in the national press, with many accusing her of ‘poverty tourism’. Julie McCalden makes a case for a more nuanced response to the project and argues the case for more, not less, public funding for the arts.
The Turner Prize is no stranger to cries of ‘Is it art?’, but this year even those who live and breath contemporary art have been sceptical about awarding the £25,000 prize to the architecture collective, Assemble. Chris Sharratt welcomes the question.
The chancellor George Osborne announced surprisingly positive news for Arts Council England in his spending review speech, with expected cuts turning into a modest increase in cash. But, cautions Mark Robinson, there’s much more to funding the arts than national portfolio organisations and major museums.
The Antiuniversity Now! festival is taking place in London and across the UK this weekend, offering an alternative to what its founders describe as ‘the creeping marketisation of education’. Co-organiser Shiri Shalmy explains why she believes traditional academia needs to be challenged.
The Istanbul Biennial has had a troubled few years. In 2013 it was embroiled in controversy over its reaction to political demonstrations in the city’s Taksim Square, while the current 14th edition arrived at a time of growing political tension in the country. As it draws to a close this week and Turkey prepares to go to the polls in a snap election, Dany Louise argues that this international biennial has failed to respond to the urgent and compelling context it finds itself in.
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