Announcing the recipients of this year’s a-n Artist Bursaries which offer awards of £500-£1,000 to a-n Artist and Joint (Artist and Arts Organiser) members wishing to undertake a self-directed professional development project.
US artist Michael Rakowitz’s winged bull sculpture, which is made from recycled food packaging, is part of a project to recreate objects destroyed at archaeological sites across Iraq by ISIS.
Written by Artangel’s James Lingwood and Henry Moore Foundation director Godfrey Worsdale, the just published ACE-commissioned report followed last June’s ACE NPO announcement which saw Bristol’s Arnolfini and Situations lose their funding.
The recently established Paying Artists Working Group met last month to decide on the steps needed to implement and develop a-n’s Exhibition Payment Guide over the next four years. Here we outline its plans and priorities.
For ‘Deep Spoils’, the Glasgow-based Scottish artist’s first exhibition in Wales, Claire Barclay has responded to the history and architecture of Swansea’s Mission Gallery by reconfiguring existing works alongside new elements. Anneka French discovers more about her distinctive practice that draws on industrial motifs to explore materiality and memory.
Build Your Own Art World was a one-day seminar at OSR Projects in Somerset that considered what it means to be artist-led and if there is an alternative to a global gallery system. For Julie McCalden, it highlighted the need for artists to resist the behaviours the art world encourages them to adopt.
The largest supporter of disabled artists worldwide announces its latest round of awards with 13 artists receiving a total of £120,000 to develop new work and ideas.
Intervention is part of the Rapid Respond Unit project in Liverpool, which sees national and international artists, rather than professional journalists, acting as reporters and correspondents.
A year and a half on from when Rachel Dobbs published her ACE funding cheatsheet, the artist and mentor has put out a revised version, hot on the heels of this month’s launch of Arts Council England’s new Project Grants scheme.
The first organisations to meet the government’s new reporting requirements include Arts Council England, the National Gallery and Sadler’s Wells. Arts Professional’s Christy Romer reports.
This Might Be The Future, funded by an a-n artist-led bursary, stems from AltMFA’s year-long ‘The Future’ programme and features a pleasingly chaotic collection of contributions that AltMFA co-founder Louise Ashcroft describes as a “clear reflection of our values in an object”. Laura Davidson reports.
Four years on from the Mayor of London-commissioned Artists’ Workspace Study, which predicted the possible loss of up to 3,500 artists’ workspaces in the capital within five years, Jack Hutchinson explores how three of London’s studio providers are navigating a challenging environment and the impact this is having on artists.
Arts education professionals and politicians have met as a first step to tackling the structural problems causing the arts to be neglected in many schools. Arts Professional’s Liz Hill reports.
The arms manufacturer is no longer a ‘premier partner’ of the government-backed exhibition after artists and arts professionals backed a campaign against the company’s involvement.
The artist, who identifies as a ‘queer working class female artist’, says in a resignation letter that she has quit due to comments made by Tate director Maria Balshaw.
A year-long commission by artist Kristina Clackson Bonnington launches at University College London with the first three of a planned 12 portraits going on display.
The former director of Southend-on-Sea’s Focal Point Gallery takes up his new role in Eastbourne at a difficult time for the gallery, as local council cuts mean a 50% reduction in funding over the next four years. Judith Alder finds him relishing the challenges ahead, and with a focus on opportunities for the gallery to play a more central role in the life of the East Sussex town.
Artists, curators and arts organisations are getting involved with a one-day Women’s Strike on 8 March to coincide with International Women’s Day. Lydia Ashman speaks to the women behind the planned strike and explores the need to make unseen female labour more visible in the art world and beyond.
