Discussion - Page 7 of 23 - a-n The Artists Information Company

How refreshing to read Michelle Letowska’s espousing of amateurism in relation to art practice in a-n Magazine (February 2009).

In December 2008 the owner of Oldknows factory announced to the leaseholders of CAN, Egerton and Oldknows Studio groups based at the Oldknows Factory Nottingham, that their leases would not be renewed.

The ceramics BAC Honours course at University of Wesminster is set to close in 2013.

Matt Lippiatt’s review of ‘Best in Show’ featured in December’s a-n Magazine raised important matters for recent graduates and the direction they should take upon leaving higher education.

As an arts professional committed to the principles of internationalism and cultural exchange I am both dismayed and disgusted by the new UK Home Office regulations that will further curb our invitations to non-EU artists to collaborate with, experience, or […]

The term amateur, until quite recently, described a person pursuing an activity purely for pleasure rather than remuneration. Derived from the Latin ‘Amator’, meaning ‘lover of’, the Victorian amateur may typically have been a sporting gentleman of independent means, but working class amateurism has a strong and colourful history, from photography to astronomy.

Historically in the United States the domain of culture and the arts has not been seen as the business of Government, though recent events seem to indicate this might be about to change.

I was interested to read your letters from Chris Young in the October magazine and the later response from Jon Bowen in November.

Oh dear. Only two pages of opportunity listings this month (a-n Magazine, November 2008) – seven if you count the larger visual impact boxed postings.

Few people will not know that Liverpool, in the early autumn of its European Capital of Culture 2008 year, has been visited by a Big Spider.

In the aftermath of the current credit crisis, how might we expect artists to be operating?

Janie Nicoll discusses the ‘What Do We-Think? engage in new approaches to interpreting art’ conference in Glasgow.

Amongst all the hyperbole, buzzwords, philosophical stances, and fission and fusion of arts disciplines, there is a tendency to forget that the primary philosophical question that the visual arts sets out to address is “What is beauty?”

Concerning the article by Lara Farrer (a-n Magazine, August) and the September response by Rachel Clapham quote, “Everybody has an opinion. It is just that in the past certain people’s opinion mattered more than others, and that is an ideology I would question.”

As someone who has tangled/tangoed with Arts Council England on a number of occasions over a number of years I was interested to read Debate, a-n Magazine September issue, about Genista McIntosh’s proposals for a more accountable, transparent and user friendly system.

This month sees numerous milestones and celebrations for a-n: firstly, Interface is one year old and to mark the occasion, Reviews has been compiled by its Online Editor Rosemary Shirley whose selection of Interface entries from the past twelve months demonstrate the quality and potential of online reviewing.

Arts Council England’s reputation was badly affected following announcement of its 2008-11 investment strategy for regularly funded organisations (RFOs).

The recent debate on arts criticism in a-n Magazine (Debate, July-August 2008) by Lara Farrar brought two very different types of arts criticism clearly into view.

Welcome to our first ever double issue complete with a fresh new look and packed with extra news, reviews and special features to see you through the summer.

Lara Farrar asks “Has technology rendered the art critic obsolete or does it hold the key for the revival of the profession?”