Hen Norton explores the use of fundraising platforms online and offers her top ten tips to help you build a sustainable creative business or project, and reach a wider and more engaged network of supporters through crowdfunding.
Resources - a-n The Artists Information Company
For this follow up to her Approaching galleries guide, Jennie Syson, director of Nottingham-based commercial gallery Syson, asked artists, arts managers, curators and gallery directors to share their top tips, and dos and don’ts advice.
Artists and advisers identify key questions to ask to help sift the good opportunities from the mediocre, and the downright mendacious.
Oliver Bennett reflects on the challenges of introducing art into the public realm, following his attendance at Oslo Pilot’s symposium, as the city seeks to challenge the existing biennial format and enable new dialogues with its public space.
Artists, collectors, gallery directors, curators and dealers offer tips and guidance on selling your work and maintaining relationships with clients and collectors.
Consultant and curator Mark Doyle offers advice on how to generate sales and develop a market for your work, through building relationships with clients and collectors.
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.
a-n’s News editor Chris Sharratt, who as a freelance writer and editor has written for Frieze, the Guardian, Sunday Times, and New Statesman and been arts editor at Metro, shares his experience and offers some top tips to consider when writing art reviews.
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.
Jennie Syson, director of the commercial gallery Syson in Nottingham, offers some advice on approaching galleries, through setting out the different research routes and methods you might use.
Proactively seeking out opportunities to realise exhibitions and projects is an important strategy in the arts. Adam Smythe, Curator at the Bluecoat in Liverpool, gives some advice on the best methods of approaching galleries with exhibition proposals for your own work or for curatorial projects.
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.
In this short introduction Paulette Terry Brien, co-director of International 3, and co-curatorial co-ordinator of The Manchester Contemporary, sets the context for the symposium Fair Cities.
Leila Alexander, of White Cube and Leila Alexander Consultancy, discusses top tier art market activity and considers London and her experience of the blue-chip gallery system in relation to the infrastructure of Manchester and the wider North West region.
Art fair co-director Liv Vaisberg discusses the ecology of Brussels and how recent press attention has reframed the city anew, in relation to the growth of the art market.
Alys Williams, Director of VITRINE, London, discusses her recent gallery expansion to Basel and how the city is a key player in international market activity.
Paulette Terry Brien chairs a panel discussion with Leila Alexander, Liv Vaisberg, and Alys Williams, exploring the ecology of key art market centres in relation to the context of Manchester and the North West of England.
How do fine art courses prepare their students for life after art school? How is professional practice shaped by factors such as location, course philosophy, and the cultural and political climate? Sarah Rowles unpacks the findings of Q-Art’s new publication, Professional Practice: 20 Questions – Interviews with UK undergraduate Fine Art staff exploring how students are prepared for life after art school.
Sectoral guidance and framework, produced by a-n and AIR as an outcome of the Paying Artists Campaign, providing specific advice on payments within the context of exhibitions or other visual arts presentation to the public.
Created specially for the Paying Artists Campaign by artist Dan Thompson, the Artist-Led Manifesto sets out the principles of fair payment for artist-led groups and collectives who may be in receipt of public funds, but who may also operate without funds at the directive of the artists involved.
Negotiation is one of the four core principles of a-n/AIR’s Exhibition Payment Guide. This quick guide offers 10 tips for better negotiation.
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-n/AIR’s Exhibition Payment Guide calls for written confirmation in the form of a contract or letter of agreement. This quick guide outlines the essential ingredients of a contract, gives guidance on what form a contract should take, and offers tips on negotiating and agreeing contractual arrangements.
a-n/AIR’s Exhibition Payment Guide says artists should make sure they provide clear evidence of their work and experience when approaching a gallery with a proposal. This quick guide offers advice on the main areas to consider when developing a proposal, and includes tips on what to include when responding to an approach from a gallery or making a speculative pitch.
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/AIR’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.