Aimed at public sector arts employers, commissioners, consultants and arts trainers, Good practice in paying artists addresses the context for fees and payments for artists’ residencies, workshops and community commissions.
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Encouraging a consistent attitude to quantifying the value of artists across the exhibition and gallery world.
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.
The Code of Practice for the Visual Arts and how to use it. Includes profiles and negotiating advice from artists, a guide to working out what to charge, plus links to other useful resources.
Jeanie Finlay points artists in the right direction on the road to self promotion.
A guide for artists and organisers, with comments from artists and good practice checklist.
A budget is an essential tool for any artist planning a new project, making a funding application or drawing up a business plan, while a-n’s Exhibition Payment Guide asks artists to provide a clear exhibition proposal and budget in advance of negotiation. This guide by the Cultural Enterprise Office in Glasgow offers straightforward advice on how to construct and manage a simple budget.
a-n/AIR’s Exhibition Payment Guide calls for written confirmation of exhibition and financial details in the form of a contract or letter of agreement. This quick guide offers 12 key points an agreement should cover.
A best practice reference guide to use when creating an agreement for a solo or group exhibition with a gallery or organisation presenting visual arts. You can also use the a-n Contracts Toolkit to build a contract to the specific exhibition context, and this checklist will support you with this.
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.
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.
A guide for artists and arts organisers to creating a mutually-beneficial relationship.
This guide takes artists through the different stages of finding and creating opportunities to work with young people in a range of settings. It asks: How are artists recruited? What is the best practice? What do young people want from such collaboration? What do artists need from teachers?
As a UK artist you automatically hold copyright in your original works of art. This guide introduces the basic concepts of copyright law and offers practical advice on protecting your work against possible infringement.
A practical guide for artists on different payment options, sending invoices, chasing payments and dealing with debtors.
Artists and advisers identify key questions to ask to help sift the good opportunities from the mediocre, and the downright mendacious.
In the second part to ‘Selling your work: building relationships with clients and collectors’, consultant and curator Mark Doyle provides further recommendations for sales, aftercare, and maintaining relationships with clients and collectors.
Artists, collectors, gallery directors, curators and dealers offer tips and guidance on selling your work and maintaining relationships with clients and collectors.
In recent years many artists have moved from major conurbations to smaller towns or cities in the UK, with access to cheaper work space and accommodation, improved health and wellbeing, and the need for stronger community networks among the factors influencing their decision to relocate. In this guide, Dan Thompson explores the many and varied reasons why artists move to a new place.
Nine artists share their stories and advice on how to make the most of moving your home and practice to a new location. In this follow up to Dan Thompson’s guide to relocating, artists working across a range of practice areas discuss how they found new networks, refuelled their practice and sought out support mechanisms following a move.
In the first part of her Negotiating with confidence guide, Rivca Rubin, a trainer-facilitator-mediator, coach and mentor, discusses how structure, attitude, and the ‘power of words’ can facilitate successful negotiations.