Introduction to our resources on self-employment.
You searched for self employment - a-n The Artists Information Company
If you are an artist or arts organisers who earns income from a variety of sources, self-employment is usually a good option as it enables you to work for many different people and perform more than one type of work. This guide by financial services experts Counterculture explains what self-employment means, how to register as self-employed, and how and when you will need to pay tax.
Explores the affect of the economic recession on the livelihoods of artists in terms of access to employment and career opportunities and raises concerns about how artists’ practice is likely to fare in this period of arts austerity. [HTML format]
The recent coverage in a-n publications on good practice and rates of pay for artists is very useful, but I think that an important issue has not been covered.
Linda Ball explores how self-employed artists operate and how an artist-run business can work.
As a professional artist you may spend a good part of your time sending out invoices, chasing payments and generally worrying about your cashflow. This guide considers different payment options and offers practical advice on managing debtors.
New evidence exposing, quantifying and discussing the likely impact on the visual arts of Arts Council England’s decisions on fifteen previously Regularly Funded Organisations (RFOs) visual arts organisations unsuccessful in their NPO application. It shows that a disproportionate number of artists’ membership and development agencies and practice-based organisations lost core funding, despite ACE’s aim of creating a balanced national portfolio and makes recommendations for sustaining their work as part of a strengthened arts ecology.
Richard Taylor in conversation with Northumbria University Fine Art student Nathalie Bouleau Chabot.
Cynthia Cousens explores the practice of weave-designer Eleanor Pritchard, discussing exhibitions, commissions and Crafts Council support.
I used to subscribe regularly to a-n many years ago and have just renewed my subscription online. In searching the site I have not been able to find anything collated (enlighten me please if Im wrong!) specific for the more […]
The primary aim of A.a (Artists aid), an artists support organisation co-directed by Sophia Crilly and Nicola Siddons, is to establish communication and networks between artists in Manchester and environs. It brings together practising artists to discuss their work and […]
Colin Hambrook, disabled artist and editor of Disability arts online, gathers a selection of quotes and advice about the practice and development of disability arts from artists, arts managers, curators, producers and gallery directors working within the sector.
Artists and advisers identify key questions to ask to help sift the good opportunities from the mediocre, and the downright mendacious.
Primarily aimed at self-employed artists, this guide sets out why people should be considering a pension or retirement plan and offers advice on a number of different choices that are available.
Universal Credit is a new benefit that is designed to support people who are on a low income or out of work. This guide by financial services experts Counterculture explains how Universal Credit is calculated and how it may impact those who are self-employed.
An overview of the current Age Discrimination law in Great Britain under the Equality Act 2010, followed by a set of action points for arts employers, and guidance for individuals who might want to challenge a decision or a practice.
An analysis and commentary on artists’ work and opportunities in 2012.
Over the course of four years, artists, curators and writers were invited to select blogs from the a-n site. Their choices highlights the range and depth of practice discussed on a-n’s artists’ blogging platform at that time.
Kate Brundrett draws on her knowledge of national and regional support schemes for artists revealing the range of business and professional development advice available. In addition, she suggests key questions and issues that an artist might consider in assessing the most relevant support at a particular point in their career.
We asked consultant and researcher Dany Louise to pick a selection of guides pertinent to creative freelance workers.
Most professional artists will occassionally need to seek legal advice about some aspect of their practice. This guide by Rebecca Farley signposts key sources of legal advice and information.
After his first solo show in London this June, Richard Taylor talks to Chris Agnew about MA study, moving his studio practice to Romania, individualising professional practice, plus much more.
Here, we profile a selection of courses offering postgraduate level study for artists seeking to develop their practice further within creative, supportive and critically challenging environments.
This Research paper forms part of a series that looks specifically at the nature and value of openly-advertised work and opportunities for visual and applied artists. Drawing on data published on www.a-n.co.uk/jobs_and_opps, this series set out in 2007 to track on an ongoing basis the key categories of awards/fellowships, academic posts, art vacancies, commissions, exhibitions, residencies and competitions/prizes, and by doing so, to identify any trends arising, and provide commentary and contextual evidence and analysis from other related sources, to contribute to arts and cultural consultations and policy.
Reyahn King explores the role of galleries within professional development for visual artists. In the current climate, how can professional development for visual artists be continued and improved? This paper suggests that one answer lies in the relationship between publicly-funded regional galleries and visual artists becoming wider, deeper, and more strongly valued.