Stephen Palmer explores the issues surrounding artists and their studios – from finances, time and work patterns and location to group set-ups and DIY options.
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Paul Glinkowski looks at the UK studio landscape, highlighting successful new studio models. He also offers advice to artists wanting to set-up their own group.
Dan Thompson from The Revolutionary Arts Group reveals how artists are once again making use of empty spaces as a means to kick-start both the cultural and economic well being of town centres, and suggests seven steps to enable this area of practice to flourish.
An overview of the types of private and public galleries and organisations that constitute the UK’s art world. Examples demonstrate what drives them, as well as the imperatives of some of the artists who exhibit and develop work for them.
Paulette Terry Brien reveals how a number of national public-funded galleries and organisations have expanded notions of exhibition programming beyond pristine white-walled gallery spaces, and are commissioning artists to make new and challenging work within the institution, as well as off-site.
Beyond the curatorial work established by and presented from within art museums and galleries, a plethora of curatorial organisations operate in order to support and develop the practice of curating. This tour, by Charlotte Frost, examines some of the different remits addressed by curatorial organisations, providing an initial orientation in their hugely diverse activities.
How does a maker reach the market? Freelance consultant and Market Development Manager for Cockpit Arts Abigail Branagan highlights the key routes.
Independent curator Jeni Walwin looks at issues relating to selling work and examines a number of different ways that artists can engage with the art world on a commercial basis.
Sarah Thelwall reveals that there is not one art market but several different ones. These markets are very different in terms of the artists, gallerists and collectors who participate and develop them. This Art market tour articulates the main markets and looks at what drives them.
Paul Stone explores the wide range of International residency options available to artists and offers a framework for considering what you might want from a residency.
Chris Brown introduces a rulebook to guide you through the whys and wherefores of artist-led activity.
Brigid Howarth presents an insight into the mind of the art buyer, from private buyers to corporate and public collections.
Introduction to our resources on self-employment.
Phyllida Shaw explores the role of grant making trusts, foundations and charities.
Introduction to different kinds of residencies and what they have to offer for creative and career development.
Andrea Ronan outlines some UK residencies including what sponsors or residency programmers may expect in return for the fees, studios, materials and accommodation on offer.
Brigid Howarth looks at how Sue Park, Amanda Doughty, Joe Magee and Kuljit Chuhan make a living thourgh selling their work or skills.
Hilary Williams talks to four artists about how they have developed specific products. She learns about their initial motivation and inspiration, how they developed their ideas into production and what marketing strategies they employed for these particular products.