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.
Guide - a-n The Artists Information Company
Interested in being a trustee or board member? Nicola Naismith explores what artists contribute and gain, and speaks to artists with experience to find out about their roles and their advice for joining a board.
Joining a board can provide artists with a voice in the decision making room and a way to steer the arts agenda. Nicola Naismith explores what’s involved, and hears from artists and their fellow board members about the important contribution artists can make and why being a trustee matters.
Alternative art education programmes come in a range of formats, from entirely self-organised to more structured offerings. Lydia Ashman hears from seven artists who discuss how they chose a programme which would develop their practice and fit with their lifestyles, and offer advice on selecting the right one for your needs.
Writing a manifesto was one of Dan Thompson’s first acts as an artist and he has since written several more including one about using empty shops, and The Paying Artists Manifesto for Artist-Led Work that showed how artists working with their own ecology, economy and excitement ‘make the world around them better’. He explores the history of artists’ manifestos and shares advice and tips on how to write your own.
a-n Blogs is a great place to share the process of your practice or the progress of a residency or project you’re working on. We’ve pulled together a few tips on blogging on www.a-n.co.uk to help you get started.
a-n’s External Programmes and Partnerships Manager Hannah Pierce offers advice on the benefits to artists of mentoring and coaching, and highlights some of the differences between these two approaches to interaction and personal, professional development.
Based on conversations with artists, Alistair Gentry reflects on the stigma that still exists around mental health, and discusses some of the coping strategies artists use in their work and careers when affected by mental health problems.
In this guide Alistair Gentry offers guidance on what support is available for artists and others with mental health problems.
In recent years many artists have moved from major conurbations to smaller towns or cities in the UK, with access to cheaper work space and accommodation, improved health and wellbeing, and the need for stronger community networks among the factors influencing their decision to relocate. In this guide, Dan Thompson explores the many and varied reasons why artists move to a new place.
Nine artists share their stories and advice on how to make the most of moving your home and practice to a new location. In this follow up to Dan Thompson’s guide to relocating, artists working across a range of practice areas discuss how they found new networks, refuelled their practice and sought out support mechanisms following a move.
Hannah Pierce, a-n’s External Programmes and Partnerships Manager, offers advice on writing applications for a-n’s member opportunities.
In the first part of her Negotiating with confidence guide, Rivca Rubin, a trainer-facilitator-mediator, coach and mentor, discusses how structure, attitude, and the ‘power of words’ can facilitate successful negotiations.
In the second part of her guide to negotiations, Rivca Rubin discusses how through active language choices, we can create more satisfied and invigorated negotiations with galleries, organisations and commissioners.
Guidance for organisations on how to shape policy statements on Exhibition Payment. Produced in support of a-n/AIR’s Exhibition Payment Guide, which calls for organisations to be transparent in their working practices with artists by publishing clear and transparent payment information.
Contemporary Arts Programme Manager at the National Trust Grace Davies explores the benefits to non-arts organisations of commissioning artists outside of traditional gallery spaces, and offers some top tips for artists to consider when making an application.
Hannah Pierce, who has held curatorial and programming roles with organisations including The National Trust and Jerwood Visual Arts, offers advice and explores the key issues to consider when applying for a residency with non-arts organisations.
12 a-n members share their experiences of attending the Venice Biennale. Discover top tips for navigating over 100 exhibitions, gate crashing parties and making your stay affordable.
A motivational list of practical ‘to-dos’: artist parents share their top tips and ‘survival’ strategies on raising children whilst maintaining and developing an art practice.
Dr Edwina fitzPatrick, course leader of the MFA Fine Art course at Wimbledon College of Arts, offers advice and explores the key issues to consider when selecting and applying to a postgraduate course.
Colin Hambrook, disabled artist and editor of Disability arts online, gathers a selection of quotes and advice about the practice and development of disability arts from artists, arts managers, curators, producers and gallery directors working within the sector.
Colin Hambrook provides an introduction to the history of, and current practices in the field of disability arts, including an overview of key organisations that support disabled visual artists.
Kevin Hunt compiles a list of both online and in print reading material about the artist-led sector, as a supplement to his essay People like us and the new Artist-Led Hot 100 (version ii).
Kevin Hunt explores the nature of temporariness and expiration, morphing and longevity in artist-led initiatives. Written to coincide with the launch of the Artist-Led Hot 100 (version ii) and Assembly Liverpool, May 2017.
Juan Bolivar, an artist and curator, explores the history and practice of curating, and provides ten key questions for independent curators and artists to help guide you in developing your first exhibitions. Bolivar’s painting practice runs parallel to his curating practice; first initiating TRAILER (2001-05) – an artist collective utilising temporary locations to stage exhibitions – and since, going on to curate over 40 exhibitions as an independent curator.