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.
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A collection of material relating to open exhibitions, including top tips on assessing and applying for open exhibitions and on setting one up.
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.
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.
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.
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.
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.
Mark Gubb asks public art commissioners and consultants their views on how they select artists for commissions and what they expect artists to prepare for interview.
Jane Watt looks into the world of academic research and examines research opportunities for artists within institutions and the UK higher education system.
Jane Watt delves into the process of commissioning and looks at the organisations and bodies offering opportunities to artists at all stages of their careers. Fully updated for 2008.
Chris Brown introduces a rulebook to guide you through the whys and wherefores of artist-led activity.
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.
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.
Linda Ball explores how artists, makers and desgners can find work outside their artform.
Lucy Kimbell looks at how artists and arts organisations can work with businesses and the pros and cons of such collaborations.
Brigid Howarth looks at how Sue Park, Amanda Doughty, Joe Magee and Kuljit Chuhan make a living thourgh selling their work or skills.
Linda Ball explores how self-employed artists operate and how an artist-run business can work.