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.
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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.
Artist Paul Evans discusses how his work became aligned to the research undertaken within universities and how his socially engaged practice has enabled academics and the public to better understand the nature of university research. Based on an interview by artist Steve Pool.
Kwong Lee of Manchester-based Castlefield Gallery discusses how the gallery works with universities in the city in to provide professional development support to students and contribute to cultural policy research, and offers his views on practice-based research and PhD programmes. Based on an interview by artist Steve Pool.
Kate Pahl, Professor of Literacies in Education at University of Sheffield, discusses what artists bring to academic research projects, and identifies some of the challenges artists and academics face when working together. Based on an interview by artist Steve Pool.
Having developed a practice based around working with people in a participatory manner, in 2015 Anthony Schrag completed a practice-based PhD exploring the relationship between artists, institutions and the public within participatory public artworks. He discusses his reasons for undertaking a PhD, and gives advice to artists considering this option. Based on an interview by artist Steve Pool.
At 58 pages, this year’s a-n Degree Shows Guide is the biggest yet and features interviews with artist Bedwyr Williams and mima director Alistair Hudson, plus contributions from artists including Ruth Ewan, George Barber and Marianna Simnett. Available on issuu and as downloadable pdf.
Edited by artist Steve Pool, this research paper looks at the year-long Co-producing legacy research project which explored the legacy of Connected Communities from the perspective of the artists involved.
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.
Paying Artists Draft Exhibition Fee Framework, Guidelines and Recommendations published.
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.
Enables artists to calculate an individual daily rate for services they supply based upon their unique circumstances and overheads and to prepare quotes when pitching for freelance work.
Universal Credit is a new benefit that is designed to support people who are on a low income or out of work. This guide by financial services experts Counterculture explains how Universal Credit is calculated and how it may impact those who are self-employed.
This guide lists UK arts councils whose role is to support, encourage and enable arts activities nationally and regionally and to widen public participation in the arts.
In an ideal world you would only embark on projects where there is sufficient funds available. This guide by Rod McIntosh outlines an approach to finding workable compromises whilst maintaining quality for times when money is tight.
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.
This guide by Sheena Etches and Nicholas Sharp outlines issues and practicalities to be aware of when negotiating and agreeing a contractual arrangement.
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.
This guide by Sheena Etches and Nicholas Sharp looks at how to handle contractual disputes, and how to terminate or re-negotiate contracts.
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.
Although a contract need not be in writing to be legally valid, the advantages of having a signed written contract usually easily outweigh the risks of not having one.
The following checklist by Sheena Etches and Nicholas Sharp covers many of the issues that arise when artists enter an arrangement with a private gallery, dealer or agent.
This checklist by Sheena Etches and Nicholas Sharp covers many issues relevant to small-scale private and public art commissions, with questions to consider and further explanation of issues arising in the notes.
Summary of the consultations that took place as part of the Paying Artists campaign to listen to feedback from the arts sector about the issue of paying artists who exhibit in publicly-funded galleries.
50-page Degree Shows Guide 2015 featuring more than 75 forthcoming shows across the UK, plus perspectives from artists, curators, academics and graduating students on what artist Bob and Roberta Smith refers to as an “incredible rite of passage”. Available on issuu or as pdf.