Once upon a time, bohemians were considered a sub-culture, an alternative group of individuals moved by lifestyle choices and artistic endeavours.
Launched in 2006,Turning Point is a national ten-year strategy for the visual arts. A network of regional Turning Point groups has since been emerging, each charged with “strengthening the visual arts infrastructure”.
This ‘how to’ guide explores the nuts and bolts of working with artists collaboratively and effectively. With introduction by Jayne Knight, Arts Development Manager, Suffolk County Council. PDF file [Size 1.2 mb]
Organised by Sophie Hope, co-facilitated with Veronica Restrepo and held at London
Having celebrated its fortieth birthday in 2008, CARFAC is keen to rebuild ties with the UK.
Timely, expert advice that explores working relationships between arts organisers and artists and provides guidance for advisors and tutors. This publication draws upon several artists’ experiences of working together spotlighting a series of artist interventions across Eastborne and an award […]
Committed to providing interaction amongst and representation for UK visual and applied artists, this is a summary of some of the key areas for development that AIR Artists’ Advisory Group has set out for the forthcoming period.
Public artist or visual artist? Open or closed? Fee-paid or speculative? Drawn from interviews, Mark Gubb brings points of view from public art commissioners and consultants into a debate started by artists in the April issue of a-n Magazine.
Jeanie Finlay points artists in the right direction on the road to self promotion.
Karin studied BA (Hons) Fine Art from 1999-2002 at Birmingham Institute of Art and Design, University of Central England. She now works in partnership with Reuben Henry, both in the residencies they offer at Springhill Institute – the studio in Birmingham that they set up in 2003 – and embarking on residencies abroad to make their own work.
An introduction to the wide range of practical and insightful material available to new artists on www.a-n.co.uk Includes Artists’ profiles that illustrate how artists from a range of practices and disciplines have negotiated their own paths through the art world. […]
Nicky Hodge featured in the Fine art and Painting sections of a-n’s Signpost publication for new graduates in 2001-3. Since then, exhibitions with Danielle Arnaud Gallery have served to demonstrate the value of the artist-gallery relationship.
Lucy Panesar’s college aspiration was to be a practising artist and part-time college lecturer, and a methodical approach to her career has made this a reality.
David Kefford is a sculptor who uses low-tech craft processes to transform found objects into surreal creations imbued with human characteristics and emotions.
Antony Hall undertook an MA in Art as Environment at Manchester Metropolitan University, graduating in 2002. Since then, his work has had an emphasis on technology, usually in the form of long-term research projects, residencies, performance, web and sound art.
Jo Wilson looks at the practice of Adele Prince who, since graduating in 2001, continues to work full-time as an artist on a variety of commissions and exhibitions.
Originally from Barbados, Alberta Whittle graduated from Edinburgh College of Art in 2002 with a Tapestry degree.
I read with interest your latest Good Practice publication, Negotiating your practice.
Selected texts on the approaches and strategies some artists have taken to define the environment for their individual practices. Featuring Pope and Guthrie, David Cotterrell, Graham Fagen, Gavin Wade, John Newling, Dominic Thomas, Sarah Cole and Rod McIntosh. Download pdf […]
Financial expert Richard Murphy’s practical framework to demonstrate how visual artists can take responsibility for their working arrangements and establish, and make a case for, their charges and fees. Download pdf [Size 234KB].
Aimed at public sector arts employers, commissioners, consultants and arts trainers, addresses the context for fees and payments for artists’ residencies, workshops and community commissions. Download pdf [Size 497KB]
Informed by the Code of practice, contains guidance on how artists and exhibition venues can achieve good practice in their working arrangements.
A text only version of this publication can be found at www.a-n.co.uk/fees_and_payments
We are a local authority-run gallery who occasionally employ artists and other workers to do workshops with us on our premises.
A Code of Practice takes commonly-agreed principles of good practice and demonstrates why and how they should be applied.
A Code of Practice takes commonly-agreed principles of good practice and demonstrates why and how they should be applied.
