An introduction to the wide range of practical and insightful material available to new artists on www.a-n.co.uk Includes Artists’ profiles that illustrate how artists from a range of practices and disciplines have negotiated their own paths through the art world. […]
I read with interest your latest Good Practice publication, Negotiating your practice.
Aimed at public sector arts employers, commissioners, consultants and arts trainers, addresses the context for fees and payments for artists’ residencies, workshops and community commissions. Download pdf [Size 497KB]
Although aimed at visual artists, a-n’s Good practice in paying artists, sets out a framework for paying practitioners according to their overheads and experience, and The artist’s fees toolkit have been recommended by Theatre Education News – the quarterly magazine […]
Lee Corner introduces the Code of Practice for the Visual Arts.
Informed by the Code of practice, contains guidance on how artists and exhibition venues can achieve good practice in their working arrangements.
A text only version of this publication can be found at www.a-n.co.uk/fees_and_payments
In 1999 John Carson made a passionate call for a more rigorous approach to arming graduating art students with knowledge of where their work and practice fitted within the wider world and interfaced with audiences. Sarah Rowles, commissioned by a-n to research the state of professional practice provision on BA fine and applied art courses, offers a perspective on the situation now.
Andrew Bryant on what Projects unedited blogs tell us about artists’ practices and concerns today.
A large gap exists today between the reality of being an artist and the image of The Artist which is portrayed by history and media, and perceived by the general public. Rich White asks what do artists actually do for society, how can they help with regeneration, particularly in a time of recession, and what is its real value?
What is an artist-curator? What makes a good collaborative partnership between a curator and an artist? What financial, practical and critical support is available to curators? Do you work with an organisation or go it alone?
Margaret James-Barber and buffy klama (yK) offer two complimentary points of view about ‘M6-M3 Underway/Unterwegs’, an artist-initiated exhibition programme for artists in NW England and Berlin, and its legacy for their own practices and future collaborations.
In a response to a request to consider issues around ‘rural arts practice’, Veronica Vickery writes in the light of the events, performances, installations and seminar that made up BOS-08 and a BOSarts research trip, funded by ALIAS to Grizedale and Allenheads Arts in August 2008.
The continual shaving of UK arts budgets, cuts in mainstream grants programmes linked with escalating overheads and news of an ever-deepening economic downturn aren’t good news for visual artists who depend largely on winning freelance contracts and getting good responses to their project proposals.
In this the second feature exploring strategies and approaches to commissioning art in the public realm, the focus is on regeneration and renewal and the role of agencies and consultancies.
Professional development opportunities are widely available, ranging from cash awards to advisory sessions and critical debate.
I have recently been very badly treated by a gallery – as in not told about artworks sold, then not paid, then given bouncing cheques and downright lies and evasion.
“Life flows forth out of the door from the limitation of isolated separate existence into the limitlessness of all possible directions”. Georg Simmel, ‘Bridge and Door’
A Code of Practice takes commonly-agreed principles of good practice and demonstrates why and how they should be applied.
A Code of Practice takes commonly-agreed principles of good practice and demonstrates why and how they should be applied.
Tom Burtonwood introduces his selection of articles from a-n’s archives for Perspectives on practice, illustrating the impact a-n has had on foregrounding developments in artists’ practice and strategies.
The evolution of public art is an ongoing process and as an arts practitioner I contribute my share through work with Chrysalis Arts, which is currently celebrating twenty years of live and public art practice. As a co-founder and director I feel it is time for some reflection on the climate for creating artwork in public places and consider what the future holds.
Chris Brown interviews Neeta Madahar on a return visit to Boston, where she studied for three years at the School of the Museum of Fine Arts.
89% of those attending a Code of Practice event in 2004 said it provided practical examples they could employ in their practice and 87% said it suggested where they could go to for access to further advice and information. As […]
In publishing the Code of Practice for the Visual Arts in June 2003, we made a commitment to its wide distribution, by free access on www.a-n.co.uk and through a printed booklet. By June 2004, we had distributed 20,000 booklets. A […]
Jeremy Theophilus considers the issues raised for practioners, organisers and funders by the Jetset conference, in the second of two articles inspired by it.
Read guides and profiles that offer valuable information, insights and strategies on art practice from a range of expert voices. Plus extensive archive of past publications.
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