In response to recent allegations of sexual harassment within the art world and the resignation of Artforum co-publisher Knight Landesman, an open letter has been published by ‘art world workers’ calling for an end to silence around the issue and a renewed effort by individuals and institutions to deal with what it describes as ‘an environment of acceptance and complicity’. Here, we republish the letter in full.
roty_oct2017 - a-n The Artists Information Company
Following a project this year working with Yezidi women who escaped ISIS captivity, Hannah Rose Thomas continues her MA studies in London. Richard Taylor finds out how her interest in the diversity of people and cultures, as well as her commitment to relief work, drives a unique approach to portraiture.
Commissioned to write a 500-word comment piece, artists Kerri Jefferis, Sophie Chapman and Rosalie Schweiker started thinking about the words we use in the visual arts and the need for new ones. This is what they wrote.
To coincide with Soul of a Nation at Tate Modern, US writer Claudia Rankine presented a reading from her new play, which explores racism in the art world and beyond. Sonya Dyer found it a powerful vehicle for exploring the intersections of capitalism, race, empathy and resistance – particularly in light of the Dana Schutz Whitney Biennial controversy and a renewed focus on depictions of the Black body.
For the inaugural visual arts commission at Storyhouse in Chester, Bedwyr Williams has transposed stories collected from a local newspaper archive onto a digitally animated recreation of the town’s former Roman Fortress Bathhouse. Speaking to Fisun Güner, he laments the loss of British awkwardness, and describes how this new work will take the viewer on a journey to “a space that’s out of time”.
Ten artists and a-n members were awarded an a-n bursary to visit to the 57th Venice Biennale. They have been sharing their views via a-n Reviews and Blogs. AIR Council member Binita Walia, who visited the Venice Biennale at the same time, presents a collection of their thoughts and reflections.
The Whitechapel Gallery, Collezione Maramotti and Max Mara have announced the shortlist for the latest edition of the UK’s only visual art prize for women.
The inaugural Coventry Biennial takes as its theme ‘the future’ and has as its main venue a relic of the city’s past – the former offices of the Coventry Evening Telegraph. Selina Oakes reports.
Aidan Moesby has just finished a tour of festivals in the north of England, using his new weather-based installations to test responses, locations and situations for visual arts in festival contexts. Trish Wheatley talks to the artist about this work and how it sits with his practice.
The debate around gentrification and the role that artists play in this contested area is increasingly being discussed and debated by artists themselves. But, asks Anna Francis in a piece originally published by The Conversation, is it right to accuse artists who work with regeneration projects of being part of the problem?
In a post-Grenfell London, this year’s Frieze Art Fair feels more incongruous than ever, but what of the art inside? Chris Sharratt reports.
Sculptor Laura Ford’s new commission for Brighton’s House Biennial draws on the history of town’s Royal Pavilion and in particular that of its early 19th century commissioner King George IV, who lived there as Prince Regent prior to taking the throne. Dany Louise talks to the artist about her work and finds out why Donald Trump has a starring role in her installation, A King’s Appetite.
Croydon-based Turf Projects showing artist Saelia Aparicio Torino has won this year’s prize for its exhibition during Art Licks Weekend 2017.
Artists are often asked to work for free in return for exposure via social media likes and audience praise, so for a recent commission (paid) Alistair Gentry decided to walk around Folkestone dressed in a cliched ‘artist’s costume’ asking other types of worker if they’d do the same. Perhaps unsurprisingly, they weren’t particularly keen.
Recent years have seen a renewed interest in clay as many contemporary artists embrace the medium in their work. As the British Ceramics Biennial continues in Stoke and Tate Modern hosts Ceramics Factory, Pippa Koszerek talks about its renewed appeal with the biennial’s artistic director and artists Clare Twomey and Jesse Wine.