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]
We are a local authority-run gallery who occasionally employ artists and other workers to do workshops with us on our premises.
In July 2010 the Rural Cultural Forum (RCF) produced a report, Creative Rural Communities (CRC), that sets out why a Rural Cultural Strategy (RCS) is needed and the form it might take.
Artists Sally Lemsford and Elizabeth Murton reflect on AIR’s first annual members forum, OpenAIR: Effecting Change. Interview by Jack Hutchinson.
A response to the recent Debate piece: Why are artists poor?
Artists in their hundreds across the US responded to a request on the New York Times website asking them how the economy is affecting their lives and work.
Further to the public art commissioning debate that has been published in a-n Magazine since April 2008, artists may be interested to know that the RBS has endorsed the practice of paying for proposals.
In November, a public liability insurance scheme aimed especially at practising visual and applied artists will be launched through a-n. Here we set out the context for the new scheme and highlight the research by Platform 3 that has informed it.
Artists’ Insights Coordinator Simon Zimmerman reports on a new development.
Over
Yuen Fong Ling on shifting Identities in Hong Kong
A-n’s commissioned research into rates of pay.
a-n’s research in 2004 defined a good practice framework on fees and payments to artists, that is supported by Arts Council England. The following annual and day rates are suggested from 1 September 2006. Experience level Annual £ excluding overheads […]
a-n’s Director of Programmes Susan Jones introduces Good practice in paying artists.
Artists and supporters of art are being rallied to support final implementation of an important Right for artists, their families and beneficiaries.
“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.”
Commentary arising from research into local authority arts organisers’ needs, aspirations and modus operandi, revealing how they value and engage with artists and the approaches they take to their own professional development and to supporting the environment for contemporary visual arts.
Launched in 2006,Turning Point is a national ten-year strategy for the visual arts. A network of regional Turning Point groups has since been emerging, each charged with “strengthening the visual arts infrastructure”.
This toolkit takes artists step-by-step through a process to calculate an individual daily rate and prepare quotes for freelance work.
Zoë Walker and Neil Bromwich’s Limbo-Land is a multi-media installation focused around the space of oblivion, confinement, or transition.
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?
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 Matosic’s letter (June issue) raises important issues for all artists for whom operating professionally is vital.
Notions of sharing knowledge and experiences – both good and bad – are inherent within those who seek continuous improvement and development in their artistic practices.
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