Developed by Steve Pool, Artists working in higher education includes a guide and four profiles that explore the ways artists are currently engaging with the HE sector. This introduction highlights the diversity and value of such relationships, and offers some key tips for working in the field.
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 curatorial practice, highlights profiles and other resources on this topic.
Emily Druiff and Sophie Hope discuss independent practice in relation self-initiated curator and artist-led projects.
Growth of independent curators and curatorial agencies within the UK over the last decade is no accident. Generated in part as a response to inherent constraints within the traditional gallery and museum world and development of specialist curatorial courses, it has undeniably brought fresh perspectives to artist-curator relationships and, increasingly, supports those practitioners seeking to move across into curation as a natural extension of their visual arts practice.
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.
Jane Watt looks into the world of academic research and examines research opportunities for artists within institutions and the UK higher education system.
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.
Introduction to Artists’ strategies and self-management
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.
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.
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.
Linda Ball explores how artists, makers and desgners can find work outside their artform.
Susan Jones explores the way artists interact with audiences through projects and schemes which involve social or environmental contexts.
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.
Linda Ball explores how self-employed artists operate and how an artist-run business can work.