The rolling out of a-n’s 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.
