For this follow up to her Approaching galleries guide, Jennie Syson asked artists, arts managers, curators and gallery directors to share their top tips, and dos and don’ts advice.
Guide - Page 2 of 4 - a-n The Artists Information Company
Jennie Syson offers some advice on approaching galleries, through setting out the different research routes and methods you might use.
Chris Sharratt, who as a freelance writer and editor has written for Frieze, the Guardian, Art Agenda, Sculpture Magazine and Art&Education and been arts editor at Metro, shares his experience and offers some top tips to consider when writing art reviews.
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.
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.
Alistair Gentry offers guidance on what support is available for artists and others with mental health problems.
a-n’s former 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.
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.
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.
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.
Ten guiding principles for artists working in social contexts, including a downloadable poster with illustrations by Rebecca Davies.
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.
Hannah Pierce, a-n’s former External Programmes and Partnerships Manager, offers advice on writing applications for a-n’s member opportunities.
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.
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.
In this motivational and practical guide, artist parents share their top tips and survival strategies for maintaining and developing an art practice whilst raising children.
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.
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.
Primarily aimed at self-employed artists, this guide sets out why people should be considering a pension or retirement plan and offers advice on a number of different choices that are available.
Artists on low incomes may be able to apply for Child Tax Credit or Working Tax Credit. This guide offers advice on eligibility and how to apply.
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.
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.