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.
Guide - Page 3 of 4 - a-n The Artists Information Company
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.
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.
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.
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.
This guide by Sheena Etches and Nicholas Sharp looks at how to handle contractual disputes, and how to terminate or re-negotiate contracts.
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.
Guide to the Artist’s Resale Right Regulations 2006.
A purpose-built legal framework and ‘brand identity’ for social enterprises that want to adopt the limited company form, the Community Interest Company organisational structure has also proved popular in the arts and charity sectors.
An overview of the current Age Discrimination law in Great Britain under the Equality Act 2010, followed by a set of action points for arts employers, and guidance for individuals who might want to challenge a decision or a practice.
This toolkit is an introduction to the contractual process, enabling artists to assess contracts and to build their own.
What are artists’ associate programmes and what do they offer within the broad landscape of artists’ professional development? What should artists consider before applying? Based on extensive research into sixty arts organisations across England, Scotland and Wales, this guide by Dany Louise offers artists help in thinking through the various options available to them.
What you need to know, and where to find it when stepping out as a new artist.
Most professional artists will occassionally need to seek legal advice about some aspect of their practice. This guide by Rebecca Farley signposts key sources of legal advice and information.
Fundraising is a competitive activity. This guide by Lisa Le Feuvre introduces the main funding sources and offers guidelines to help make winning funding applications.
This guide by Nicholas Sharp looks at the different types of legal structures that can be used when setting up an organisation, and the implications of each.
The Code of Practice for the Visual Arts and how to use it. Includes profiles and negotiating advice from artists, a guide to working out what to charge, plus links to other useful resources.
Video and links to reports on outcomes of Pop Up People, an action research project developed by artist Dan Thompson and the Empty Shops Network, giving insights into starting your own pop-up venture.
Artists sometimes report their work has been seemingly ripped off and used in other ways without their consent – but what is actually covered and protected by copyright law? Artist Simon Faithfull talks about some of his experiences, and what he can do to protect aspects of his work.
Artist Susanna Heron talks through her experiences of being commissioned on public art projects, the pitfalls she encounters and how to get around them. Includes an overview on the rights, roles and responsibilities of commissioners and artists.
Ben White and Eileen Simpson created the Open Music Archive to distribute music that no longer has copyright protection. Their project looks at ways you can distribute your work but still control some of its uses.
Art dealer René Gimpel of Gimpel Fils considers the relationship between artists and galleries, including contracts, gallery responsibilities and what commercial galleries do for artists.