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.
Guide - Page 4 of 5 - a-n The Artists Information Company
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.
When does artistic freedom become copyright infringement? Artist David Mabb considers works in his practice, including a run-in with Magnum Photos and appropriating the work of William Morris.
For this video guide, Katy Beale and Charlotte Frost discuss micro-blogging with particular reference to Twitter and how it can be used for research, marketing and collaboration, plus a look at how artists are using Twitter in innovative ways that connect with their practice.
For this video guide, Chris Unitt of Meshed Media talks to Charlotte Frost about different blog platforms, getting the most from a blog, and some of the creative and innovative blogs around.
A guide for artists and arts organisers to creating a mutually-beneficial relationship.
This guide takes artists through the different stages of finding and creating opportunities to work with young people in a range of settings. It asks: How are artists recruited? What is the best practice? What do young people want from such collaboration? What do artists need from teachers?
Some tips and advice on strategies and approaches.
A guide for artists and organisers, with comments from artists and good practice checklist.
Russell Martin’s guide to running your own gallery demystifies the process of setting up an artist-led space and highlights the issues to consider before taking such a step.
Jeanie Finlay points artists in the right direction on the road to self promotion.
This guide by Jonathan Waring covers the process of establishing a studio group: from having the initial idea, bringing together a likeminded group of artists and getting hold of a space, to running the studios effectively on a day-to-day basis.
Applying for funding? Ever wondered how the experts do it? Rosemary Shirley asked a range of experienced artists, curators and arts professionals to share their top tips for successful funding applications.
Encouraging a consistent attitude to quantifying the value of artists across the exhibition and gallery world.
Aimed at public sector arts employers, commissioners, consultants and arts trainers, Good practice in paying artists addresses the context for fees and payments for artists’ residencies, workshops and community commissions.
Lucy Kimbell explores the value of artists’ work.
This toolkit enables artists and students to develop themselves and their practice. It provides self-reflective material suitable for any career stage and allows artists to review their position and explore ways of developing.
If you need a solicitor, it is important to be able to identify the right one to handle your particular situation and to prepare adequately, in order to minimise your costs. This checklist by Sheena Etches and Nicholas Sharpe outlines how to go about selecting a solicitor.
This checklist by Sheena Etches and Nicholas Sharp is a tool to help understand the purpose and content of a reproduction licence.
Lucy Kimbell outlines some issues that can arise from residencies in business settings and should be resolved in advance.
As a UK artist you automatically hold copyright in your original works of art. This guide introduces the basic concepts of copyright law and offers practical advice on protecting your work against possible infringement.
Whilst safe working practice is largely a matter of common sense, it is also a legal and professional issue. This guide by David Pope introduces the key legislation and offers practical advice on risk assessment.