Established in 1986 in Manchester, Chinese Arts Centre celebrates its twenty-first birthday this year.
You searched for paying artists research - Page 12 of 12 - a-n The Artists Information Company
Advice from artists on assessing opportunities
With inflation about to hit a ten-year high1, to what extent can the practices of artists nowadays resist the pressures of the real world?
Over 4,300 practising artists are already benefiting from AIR
Debra Savage’s case study-based research into the realities of professional artistic practice.
This month’s Opportunities focus on international residencies, will sit permanently on www.a-n.co.uk1 as a signpost to regular international residencies that have regular deadlines. Artist Michael Cousin2 has researched this focus alongside his busy practice as an artist, and offers some […]
As a former teacher now working for the past five years as a gallery educator and also a freelance artist I have been interested to follow the a-n proposals on artists fees.
Paul Matosics letter (June issue) raises important issues for all artists for whom operating professionally is vital.
The Comment article published in a-n Magazines June issue raises a number of points that need to be addressed.
Outer space investigates the interface between artists’ practice and the socio-political domain. Devised and edited by Esther Salamon, contributors include Chris Batt MLA, Paul Collard Creative Partnerships, Jonathan Davis CABE, David Lammy MP Minister for Culture, Graham Leicester International Futures Forum and Tom Shakespeare.
Artist’s jobs and opportunities 2003 – 2005
Notions of sharing knowledge and experiences both good and bad are inherent within those who seek continuous improvement and development in their artistic practices.
Encouraging a consistent attitude to quantifying the value of artists across the exhibition and gallery world.
The rolling out of a-ns frameworks for good practice in artists fees and payments continues apace. Already referenced in The Guardian and Arts Professional, the fees and payments research is further endorsed by Arts Council England with Senior Visual Arts […]
a-n’s Director of Programmes Susan Jones introduces Good practice in paying artists.
Gordon Dalton reports on the Curating Now symposium at the Irish Museum of Modern Art hoping to find the future of curating in museums.
A-n Director of Programmes Susan Jones reviews artists jobs and opportunities over the years.
A timely essay published in June was designed to create a public debate around The Right to Art Campaign, launched last year by VAGA (Visual Arts and Galleries Association) with a coalition of colleagues from across the visual arts sector. […]
As part of the NAN initiative, artists from North East England visited Glasgow. Here Alison Unsworth and David Stamp give an overview of their experiences.
a-n’s Future forecast event (29-30 January) was attended by seventy participants despite particularly bad weather conditions and we’d like to thank everyone who took part. Angus Farquhar spoke of the philosophy behind his company, Nacionale Vitae Activa (NVA), […]
This checklist by Sheena Etches and Nicholas Sharp is a tool to help understand the purpose and content of a reproduction licence.
Jeni Walwin, investigates Blast Theory an innovative, yet pragmatic artist-led company that’s proving to be inspiration for many artists working in performance and new media.
Jeni Walwin on the artistic achievements of Blast Theory, an internationally renowned artists’ group creating groundbreaking new forms of performance and interactive art that mixes audiences across the internet, live performance and digital broadcasting.
Sophie Scott reports on her experience of the different attitudes and approaches to education initiatives in the arts in the USA.
The UK’s seen a noticeable increase in professional development schemes for artists, encompassing training, mentoring, networking and information services. There is an obvious cross-reference to the government’s endorsement of ‘lifelong learning’ as a principle, encouraged through the offer of individual learning accounts for all. These moves increase opportunities for the kinds of artistic development that incorporates developing and honing skills, accessing facilities and ultimately furthering career strategies. The results are more than just CV embellishment. By providing points of crossover between artists, such schemes contribute to peer support systems and help to address the potential isolation of artists. Here, three individuals involved in artists’ professional development matters describe some of the resources around, and discuss how artists are making the most of them.