“AN will be an open line communication shared by all interested parties. It has not the resources nor the wish to be a one-way information service. It will be a clearing house for practical information and a means of raising issues significant to visual artists. The format is not fixed and will adapt and change according to the response and opinions of artists.” So wrote founder Richard Padwick in the first ever issue, published in September 1980, price 35p.
Discussion - a-n The Artists Information Company
Although very many individuals now and in the past have given their best to or contributed hugely to a-n Magazine, with this the very last issue, I’d like to extend some special thanks: firstly to Gillian Nicol who started with […]
I was deeply saddened by the announcement from ArtSway that the organisation is to close this summer.
Katie Smith asks: are social media-led artists’ projects a challenge to the traditional model of participation in the arts?
We’ve been pleased with the response to news of developments at a-n.
Tom Burtonwood’s statement “a-n is not so much a magazine as a way of thinking and positioning ideas” in 2006 is perhaps no more relevant than right now.
I have just read on AIR that another arts initiative, Lanternhouse, is closing.
Early in March I was in Margate for the National Federation of Artists’ Studio Providers’ (NFASP) AGM and a series of events designed to bring artists and studio providers together to share experience, intelligence and generally bond.
As the UK’s financial situation continues to put pressure on our living and working patterns, the role and value of the artist in society comes increasingly into focus. Two national conferences are featured in this issue, Arts Council England’s annual […]
I have been reading with interest the debate in a-n about the development of “alternative art schools” (Research papers: Alternative art schools, Pippa Koszerek, 2011).
Pippa Koszerek and Eleonora Schinella consider relationships between artists, activism and social justice following the 2011 Triangle Network conference in London.
When faced with challenging times and a scarcity of resources, it is understandable that our instinct might be to retract and take fewer risks.
I wanted to let you know that this year marks the beginning of a new era for Aspex. We will continue to provide activities and services to artists, but without using the ‘ARC’ brand.
I wish to correct the impression given in Jon Wakeman’s piece about All Points North (‘Debate’, a-n Magazine, December 2011/January 2012) that Axis was responsible for ‘driving’ the project.
Cara Courage examines the evidence about the gender imbalance in the arts workforce and asks whether it’s really down to women wanting to ‘have it all’.
Jon Wakeman asks, is All Points North acting like The Premier League?
We’ve an opinion-rich issue for December/January – see packed letters page and extended Debate section for evidence of artists taking a stand.
We are an anonymous grouping of national and international artists who campaign on the working conditions of artists in the UK.
I am writing to endorse Tom Davies’ excellent letter on the dire future for art education (a-n Magazine, November 2011) at a time when UCAS art admissions are 27% down on last year (see www.guardian.co.uk).
This is the third letter in the same vein I have sent to a-n since subscribing a year ago. At the risk of sounding like a stuck record, I want to pick up on a few items from recent issues.
In response to Claire White’s letter in the November issue, I want to agree with her analysis of artists and how many find themselves as part of community projects and development.
Joshua Sofaer asks what can culture do in times of wider crises.
I have recently responded to a couple of exhibition opportunity announcements and followed them through – the most recent: Calling all artists for a group exhibition at The Brick Lane Gallery.
Through a letter published in the Sunday Telegraph, 2 October, a consortium of arts bodies including a-n called for inclusion of arts and culture in National Planning Policy Framework.
It’s sixteen years since the Disability Discrimination Act came into force; so are disabled artists more in the mainstream now, or have the goal posts just moved sideways asks Emma Geliot.