Digital capabilities have revolutionised artists’ working practices, from transforming the kind of works they make to how they interact with each other and audiences.
Discussion - Page 2 of 23 - a-n The Artists Information Company
On reading Mitra Memarzia’s report on diminishing resources in undergraduate courses (‘The future of art education’, a-n Magazine September 2011) I was moved to both endorse the findings and speculate further on the continuing erosion of specialist teacher training in art education.
I have been reading some interesting comments recently in your magazine about the issue of artists when they leave education and enter employment. I feel I would like to comment on this issue. As an arts graduate I am now […]
As part of its ongoing mission to support contemporary visual arts practice, this month a-n publishes two reports in the feature ‘Artists, arts policy and funding’.
I have just finished my MA, before that I did a BA in Fine Art. I learnt about how to think rather than what to think, which would seem to be the main difference between vocational and academic studies.
There are two key things Nicholas Leverington mentions that I want to zone into.
Alex Murdin asks what is Localism and what effect it is likely to have on art practice in regional areas.
In her article asking ‘What festivals add to a city’ (a-n Magazine, July-August 2011), Dany Louise points out that local authorities tend to favour them for extrinsic reasons like improved tourism and city profile. Based on my recent experience in Folkestone, where I was undertaking a short residency, I would argue that these supposedly extrinsic reasons are in danger of eclipsing the intrinsic benefits, as festivals are increasingly understood within the context of urban development and economic growth.
Kate Phillimore and Matthew de Pulford propose the jester as a vehicle for understanding playfulness, mediation, diplomacy and rebellion within curatorial practice.
As UK’s universities continue their radical overhaul to deliver a more streamlined and affordable ‘service’, art education is facing up to the challenges this presents to the sector. Attending Cubitt’s July Festival of Blackboards, Mitra Memarzia observes that art students […]
Artist, writer and ‘time traveller’, Alistair Gentry, responds to Lee Cavaliere’s Visions of the future.
What will the future arts environment look like? In the second manifesto artist, writer, photographer and empty shops coordinator Dan Thompson responds to Visions of the Future with his thoughts on the future of the arts.
What will the future arts environment look like? Artist / curator / gallery manager Lee Cavaliere offers his visions for the future – we invite your own manifestos in response.
What do festivals add to a city?
In this issue we continue to get a glimpse of how the visual and applied arts are developing new approaches in a harsher climate.
BECTU and other members of the Federation of Entertainment Unions (FEU) plus Connect and PCS held an event in June to launch the Lost Arts Campaign and website www.Lost-Arts.org.
As a new generation of artists embark on a career in the visual arts this month, the #degreeshows Twitter campaign again draws attention to their sheer hard work, determination and achievements during an exceptional period in higher education.
In the sometimes dangerous but welcome spirit in which people around the world are taking it upon themselves to question and even shake off entrenched and fossilized regimes that have long outstayed their welcome, I wonder if their courageous example could not have something to teach us?
Reading ‘Spotlight on arts funding’ in a-n Magazine, it certainly feels like we’re living in interesting times. I can’t help but see it as a time of opportunity as much as threat.
Daniel Fawcett argues that artists’ use of film holds the key to its future.
John Plowman unpicks a new book on collaborative practice by Nuno Sacramento and Claudia Zeiske.
Iain Andrews, The Eat Me, 50x60cm, acrylic on canvas, 2010.
As the UK’s cultural sector braces itself for the most radical changes in recent history, a-n has been following the situation as it develops and presenting the most up-to-date news and information.
Having seen the sagging pile that currently represents David Cotterell’s Hill33 in the Forest of Dean I was surprised to see the carefully selected photograph that accompanied the article ‘Collaborative relationships’ (a-n Magazine March 2011 issue).
The Live Art UK network writes in response to the announcement by Arts Council England (ACE) of its National Portfolio Organisation awards for 2012-15.