Resources - a-n The Artists Information Company

Nicola Naismith, Artists in Leadership, from an ongoing project A folder called slogans, 2017/18. Courtesy: The artist
Resource Guide

Artists on boards: a guide to becoming a trustee or board member

Joining a board can provide artists with a voice in the decision making room and a way to steer the arts agenda. Nicola Naismith explores what’s involved, and hears from artists and their fellow board members about the important contribution artists can make and why being a trustee matters.

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Ria Jade Hartley, artist and founder of ecologies of care, 2018. Image: Dom Moore, Courtesy: Jamboree and the artist
Resource Profile

Artists and wellbeing: Ria Hartley, ecologies of care artist

ecologies of care was initiated by artist Ria Hartley in 2018. The project comprises a growing toolkit of resources designed to support artists who have access requirements to express their needs. Hartley speaks to Lydia Ashman about the toolkit and why artists’ health and wellbeing should be a sector-wide priority. This resource is available in text format and also as a video format sound recording.

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Amy Leung, AltMFA Poster, 2018. Courtesy: the artist
Resource Guide

Alternative art education: choosing a programme that’s right for you

Alternative art education programmes come in a range of formats, from entirely self-organised to more structured offerings. Lydia Ashman hears from seven artists who discuss how they chose a programme which would develop their practice and fit with their lifestyles, and offer advice on selecting the right one for your needs.

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Mentor Anne Ryan talking to Turps Studio Programme artists during her exhibition ‘The Cowboy Paintings’ at Turps Gallery in April 2017.
Resource Profile

Alternative art education: Turps Art School

Turps Art School was founded in 2012 as a medium-specific art school providing year-long studio and distance learning programmes for painters. Co-founder Marcus Harvey talks to Michaela Nettell about the ideas and values behind the school.

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Brendan Burton-Curtis performs at  CABARET event, presented by  performanceClub in association w/ SOTD + TOMA , 2018
Resource Profile

Alternative art education: School of the Damned

School of the Damned is a free year-long alternative, and unaccredited, art school. Each year a new student group comes on board and collectively devises and develops their programme of learning. Laura Davidson finds out more from members of the founding cohort, Class of 2014, and the Class of 2018 graduating students.

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Chris Alton, After the Revolution They Built an Art School Over the Golf Course, textile banners, wooden dowel, 23 x115cm, 230x250cm, 230x115cm, 2017. Installation views of 'You're Surrounded by Me' at TURF Projects, London. Photo: Tim Bowditch
Resource Profile

Alternative art education: Kirsty Ogg, New Contemporaries

In 2017, New Contemporaries, an annual exhibition of emerging artists from UK art schools, opened up its application to include artists from alternative learning programmes. Director Kirsty Ogg discusses this decision, the changing climate for emerging artists in the UK, and what artists really need to develop and challenge their practice. Interview by Michaela Nettell.

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Croshare - Motherhood, Masks and Metamorphosis, Lansdown Gallery, Stroud 2017. Credit: Jill MacKeith
Resource Profile

Artist parents: Sharon Bennett, socially-engaged artist

Stroud-based artist and mother Sharon Bennett discusses her work with the Women’s Art Activation System support network which she developed in collaboration with two other Stroud-based artists, taking part in Lenka Clayton’s Artist Residency in Motherhood, and opening the temporary ‘Mother House’ studio.

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The Paying Artists Manifesto for Artist-Led Work. Commissioned by a-n, original text and design by Dan Thompson
Resource Guide

Artists’ manifestos: making change happen

Writing a manifesto was one of Dan Thompson’s first acts as an artist and he has since written several more including one about using empty shops, and The Paying Artists Manifesto for Artist-Led Work that showed how artists working with their own ecology, economy and excitement ‘make the world around them better’. He explores the history of artists’ manifestos and shares advice and tips on how to write your own.

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Sergei_Mikhailovich_Prokudin-Gorskii
Resource Guide

Quick guide to using a-n Blogs

a-n Blogs is a great place to share the process of your practice or the progress of a residency or project you’re working on. We’ve pulled together a few tips on blogging on www.a-n.co.uk to help you get started.

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a-n Coaching and Mentoring
Resource Guide

Coaching or Mentoring: which is right for you?

a-n’s External Programmes and Partnerships Manager Hannah Pierce offers advice on the benefits to artists of mentoring and coaching, and highlights some of the differences between these two approaches to interaction and personal, professional development.

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Liz Atkin, #CompulsiveCharcoal drawings.
Resource Profile

Artists and mental health: Liz Atkin, #CompulsiveCharcoal artist

London-based artist Liz Atkin creates work both in response to and as way of coping with compulsive skin picking. Alistair Gentry finds out more about her art practice, and the advocacy and education work she undertakes to help others understand and deal with this and other body-focused repetitive behaviour conditions.

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Cornelius Quabeck, 203 Wilton Street (11.1.18), acrylic on linen, 2018, 22“ x 20“
Resource Profile

Why artists move: Cornelius Quabeck

Originally from Germany, Glasgow-based painter Cornelius Quabeck first spent time in the city during a two-month artist residency in 2011. He talks to Dan Thompson about living and working in Düsseldorf, London and San Francisco, and the reasons that brought him back to Scotland in 2016.

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Paul McDevitt, Voll Rath, 224x149cm charcoal, pastel on paper, 2016. Photo: Florian Balze; Courtesy: Farbvision and Martin Asbæk Gallery, Copenhagen
Resource Profile

Why artists move: Paul McDevitt

In 2015, Scottish artist Paul McDevitt set up Farbvision, a project space in Berlin’s Prenzlauer Berg district that presents solo exhibitions and is also home to the INFINITE GREYSCALE record label. He talks to Dan Thompson about his reasons for relocating from the UK, and the artistic freedom and financial reality of life in his adopted home.

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David Beales, A New Admission, acrylic on board. Exhibited in ‘Art and the Other’ at The Bethlem Gallery in 2015.
Resource Profile

Artists and mental health: The Bethlem Gallery

The Bethlem Gallery in Bromley provides a professional platform for artists who have experienced mental health difficulties. Alistair Gentry speaks to the gallery’s director Beth Elliot about the organisation and how it fosters a supportive artist-focussed environment.

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Michael O'Reilly, project for the Dining Room, Garnet Ward, Highgate Mental Health Centre. Photo: Tim A Shaw; Courtesy: Hospital Rooms
Resource Profile

Artists and mental health: Hospital Rooms

Hospital Rooms is an arts and mental health charity that believes in the enduring power of the arts to instil value, dignity and wellbeing in people. Alistair Gentry speaks to Curator Niamh White about how the project enables access to art and culture for people using secure and locked mental health services.

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Empire - flags, Tasha Middleton and Dan Thompson, Estuary Festival 2016
Resource Guide

Why artists move: a guide to relocating

In recent years many artists have moved from major conurbations to smaller towns or cities in the UK, with access to cheaper work space and accommodation, improved health and wellbeing, and the need for stronger community networks among the factors influencing their decision to relocate. In this guide, Dan Thompson explores the many and varied reasons why artists move to a new place.

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Chiara Williams, Hush (detail)
Resource Guide

Why artists move: top tips on relocating from artists, gallerists and tutors

Nine artists share their stories and advice on how to make the most of moving your home and practice to a new location. In this follow up to Dan Thompson’s guide to relocating, artists working across a range of practice areas discuss how they found new networks, refuelled their practice and sought out support mechanisms following a move.

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