Lucy Kimbell outlines some issues that can arise from residencies in business settings and should be resolved in advance.
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a-n Blogs is a great place to share the process of your practice or the progress of a residency or project you’re working on. We’ve pulled together a few tips on blogging on www.a-n.co.uk to help you get started.
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.
Hannah Pierce, a-n’s External Programmes and Partnerships Manager, offers advice on writing applications for a-n’s member opportunities.
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.
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.
Colin Hambrook provides an introduction to the history of, and current practices in the field of disability arts, including an overview of key organisations that support disabled visual artists.
Getting on top of your business puts you in control. Actively driving the business side of your practice forward makes you more productive. Achieving minor goals and ‘dealing’ with the admin also boosts feel-good factor, making you more time for your creative practice. Here, Kate Brundrett offers some top tips.
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.
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.
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.
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.
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.
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.
A guide for artists and arts organisers to creating a mutually-beneficial relationship.
Encouraging a consistent attitude to quantifying the value of artists across the exhibition and gallery world.
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.