Bristol-based live artist Liz Clarke has created a performance with her nine-month-old daughter and collaborated with her nine-year-old son to produce a work based on an idea he proposed. She speaks to Julie McCalden about being part of an art making family.
You searched for good practice - Page 3 of 27 - a-n The Artists Information Company
Enables artists to calculate an individual daily rate for services they supply based upon their unique circumstances and overheads and to prepare quotes when pitching for freelance work.
Getting paid a fair fee is not suggestive of a revolution. So why does it sometimes incur resistance, both from those who pay and from ourselves? This guide by Rod McIntosh introduces ideas towards getting paid what you want and indeed deserve.
In an ideal world you would only embark on projects where there is sufficient funds available. This guide by Rod McIntosh outlines an approach to finding workable compromises whilst maintaining quality for times when money is tight.
This guide by Sheena Etches and Nicholas Sharp outlines issues and practicalities to be aware of when negotiating and agreeing a contractual arrangement.
The following checklist by Sheena Etches and Nicholas Sharp covers many of the issues that arise when artists enter an arrangement with a private gallery, dealer or agent.
This short report deconstructs the Paying Artists case studies, published as part of campaign evidence in 2014, to highlight emerging themes and show how some galleries are already demonstrating transparency. Useful for galleries wishing to develop their own fair pay policies.
Commissioned as part of Paying Artists research portfolio, Sarah Thelwall’s report explores how public sector galleries can think differently about budgets for artists’ fees.
A short paper that briefly reviews some of the existing literature – research, resources and approaches to artists’ terms and conditions in exhibition practice – which have been referenced or provided useful context and comparison for the Paying Artists Study.
Second phase of research study commissioned by a-n and AIR looking at artists experiences of exhibiting in publicly-funded venues. Overview of main findings from interviews with artists and publicly-funded venues that deepens understanding of data Phase 1 findings and explores perceptions and issues from both sides of the experience.
Research study commissioned by a-n and AIR looking at artists’ experiences of exhibiting in publicly-funded galleries. Phase 1 is based on an online survey exploring artists’ experiences of exhibition practice.
An analysis and commentary on artists’ work and opportunities in 2012.
A collection of material relating to open exhibitions, including top tips on assessing and applying for open exhibitions and on setting one up.
Fundraising is a competitive activity. This guide by Lisa Le Feuvre introduces the main funding sources and offers guidelines to help make winning funding applications.
We are an anonymous grouping of national and international artists who campaign on the working conditions of artists in the UK.
I have recently responded to a couple of exhibition opportunity announcements and followed them through – the most recent: Calling all artists for a group exhibition at The Brick Lane Gallery.
Current professional development support schemes for visual artists in the UK.
News and updates on AIR’s strategies and activities designed to support professional artists within their practice and working lives.
Held in June, ‘Stronger together’ was an opportunity to ‘celebrate and question how we work together’ – exploring collaboration in its many forms – and how vital that is to the survival of the arts.
Evidence-based recommendations on: Identifying the ‘new practices’ model, Valuing peer networks, Redefining public accountability, Supporting location and community and New ‘brand image’ for artists.
In March, AIR – Artists Interaction and Representation – put its weight behind calls for art education to be accessible to all, following a survey in which 95% of its members gave hearty support to the view that art education should be accessible “irrespective of background and financial status”. Here we outline AIR’s campaign and the survey’s key findings to provide evidence for artists to use.
“The artist has always occupied a privileged but fragile position in the public eye. For centuries, we have looked to artists across all disciplines to inspire and entertain us, to help us explore the limits of human nature and human possibilities, [and] at times to lead debate and forment revolution.”
Sonya Dyer reports from the first Artists and curators talking event – Neighbourhoods and Neighbourliness – which explored the landscape and conditions for artists and curators working directly with communities.
Mission Models Money (MMM) has published a seminal guide on collaboration following their in-depth research.
“Things are always changing
So don’t be sad and blue
Change can make you happy
‘Cause it brings you something new”.
(Lyric © Sesame Street)