Contemporary Arts Programme Manager at the National Trust Grace Davies explores the benefits to non-arts organisations of commissioning artists outside of traditional gallery spaces, and offers some top tips for artists to consider when making an application.
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Sample day rates to guide arts budgeting and to help visual artists negotiate a fair rate of pay for short-term contracts such as commissions, residencies and community projects.
Within UK universities, visual artists are working across university departments in many different ways ranging from arts and health initiatives, residencies and cultural heritage projects to commissions, teaching and PhD research. Artist Steve Pool identifies some key ways artists are working within HE and considers the value of such relationships to both artists and institutions.
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.
Artists and advisers identify key questions to ask to help sift the good opportunities from the mediocre, and the downright mendacious.
Hannah Pierce, who has held curatorial and programming roles with organisations including The National Trust and Jerwood Visual Arts, offers advice and explores the key issues to consider when applying for a residency with non-arts organisations.
Juan Bolivar, an artist and curator, explores the history and practice of curating, and provides ten key questions for independent curators and artists to help guide you in developing your first exhibitions. Bolivar’s painting practice runs parallel to his curating practice; first initiating TRAILER (2001-05) – an artist collective utilising temporary locations to stage exhibitions – and since, going on to curate over 40 exhibitions as an independent curator.
Hen Norton explores the use of fundraising platforms online and offers her top ten tips to help you build a sustainable creative business or project, and reach a wider and more engaged network of supporters through crowdfunding.
Hannah Pierce, a-n’s former External Programmes and Partnerships Manager, offers advice on writing applications for a-n’s member opportunities.
Dr Edwina fitzPatrick, course leader of the MFA Fine Art course at Wimbledon College of Arts, offers advice and explores the key issues to consider when selecting and applying to a postgraduate course.
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.
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.
Artists, gallerists and curators offer tips and guidance on how to price work when exhibiting in group shows, selling at open studios, or applying for open competitions.
This guide by Sheena Etches and Nicholas Sharp looks at how to handle contractual disputes, and how to terminate or re-negotiate contracts.
A contract is an agreement between two or more people that is legally binding. It can be verbal or written. This guide by Sheena Etches and Nicholas Sharp outlines the essential ingredients of a contract, offer and acceptance, and implied terms.
Although a contract need not be in writing to be legally valid, the advantages of having a signed written contract usually easily outweigh the risks of not having one.
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 checklist by Sheena Etches and Nicholas Sharp covers many issues relevant to small-scale private and public art commissions, with questions to consider and further explanation of issues arising in the notes.
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.
This toolkit is an introduction to the contractual process, enabling artists to assess contracts and to build their own.
What are artists’ associate programmes and what do they offer within the broad landscape of artists’ professional development? What should artists consider before applying? Based on extensive research into sixty arts organisations across England, Scotland and Wales, this guide by Dany Louise offers artists help in thinking through the various options available to them.
Artist Susanna Heron talks through her experiences of being commissioned on public art projects, the pitfalls she encounters and how to get around them. Includes an overview on the rights, roles and responsibilities of commissioners and artists.
A guide for artists and arts organisers to creating a mutually-beneficial relationship.