LONDON.- A new work by Turner Prize nominated artist, Cornelia Parker, created specially for the campaign led by artists against funding cuts, was released today.

The work shows Antony Gormley’s celebrated Angel of the North with one of its wings lopped off. The caption reads: Why clip the wings of an industry that is soaring? It’s a false economy to cut the arts.

Nominated for the Turner Prize in 1997, Cornelia Parker has became known for her installations and interventions, including Cold Dark Matter: An Exploded View 1991 (Tate Modern) where she suspended the fragments of a garden shed, blown up for her by the British Army, and The Maybe, a collaboration with actress Tilda Swinton, at the Serpentine Gallery in 1995. In 2003 she wrapped Rodin’s Kiss with a mile of a string to make a new work The Distance (a kiss with string attached) for her contribution to the Tate Triennial.

She has had recent solo exhibitions at Baltic, Gateshead (2010), the Whitechapel Gallery laboratory (2008) Ikon Gallery, Birmingham (2007) and the Museo De Arte de Lima, Peru (2008). Her work was included in the 16th Sydney Biennale (2008) and in the 8th Sharjah Biennial, UAE (2007). She has works in the Tate Collection and in numerous public and private collections in Europe and the USA. She is represented by Frith Street Gallery, London and D’Amelio Terras, New York.

Each week the work of a different artist, created in response to the campaign, is released. The campaign was launched 10 September with a new video by David Shrigley and a campaign poster by Jeremy Deller, Scott King and William Morris. This was followed by new works by Mark Wallinger and Yinka Shonibare.

Supporters of the artists’ campaign are being asked to sign a petition which will be sent to the Culture Secretary, Jeremy Hunt. It points out that it has taken 50 years to create a vibrant arts culture in Britain that is the envy of the world and appeals to the government not to slash arts funding and risk destroying this long-term achievement and the social and economic benefits it brings to all.

The artists acknowledge that reasonable cuts and efficiencies are necessary but they fear that the 25% cuts being proposed will destroy much of what has been achieved and will have a particularly damaging impact on national and regional museums and their collections.

The campaign is being organised by the London branch of a national consortium of over 2,000 arts organisations and artists dedicated to working together and finding new ways to support the arts in the UK.