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.
Professional Practice - a-n The Artists Information Company
In 2017, Wysing Arts Centre restructured its residency programme to be more responsive to artists’ situations and to support a more diverse pool of practices. Drawing on a conversation that took place between Wysing’s director Donna Lynas and resident artist Tessa Norton at the ‘Pivotal Moments’ conference, Lydia Ashman explores how and why the programme has changed.
The Mothership is an independent residency programme run by artist Anna Best from a purpose built studio nestled in Dorset woodland. Lydia Ashman speaks to Best and former resident artist Dominque Golden about how the flexibility of The Mothership is particularly supportive of artists with families.
based in Dover, Kent
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.
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.
The process of mentoring has been extremely rewarding and has allowed me to develop my work significantly. It has opened me to a wider understanding of my own work and how others read it. Firstly, how an artist presents themselves […]
At the end of the 3 months, I presented the work I had completed to my mentor. My current body of work is based upon still lives of Ball-Jointed-Dolls. These are fully articulated Asian dolls that can be painted and […]
As a recipient of the Professional Development Bursary, I asked for support to investigate the potential of identify potential galleries with whom I could develop a relationship and possibly gain gallery representation. My mentor worked with me over 9 months to realise this.
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.
Artists and advisers identify key questions to ask to help sift the good opportunities from the mediocre, and the downright mendacious.
A best practice reference guide to use when creating an agreement for a solo or group exhibition with a gallery or organisation presenting visual arts. You can also use the a-n Contracts Toolkit to build a contract to the specific exhibition context, and this checklist will support you with this.
Unpacking the findings of Q-Art’s 2016 publication ‘Professional Practice: 20 Questions’, co-edited by Jo Allen and Sarah Rowles.
How do fine art courses prepare their students for life after art school? How is professional practice shaped by factors such as location, course philosophy, and the cultural and political climate? Sarah Rowles unpacks the findings of Q-Art’s new publication, Professional Practice: 20 Questions – Interviews with UK undergraduate Fine Art staff exploring how students are prepared for life after art school.
Getting on top of your business puts you in control. Actively driving the business side of your practice forward makes you more productive. Achieving minor goals and ‘dealing’ with the admin also boosts feel-good factor, making you more time for your creative practice. Here, Kate Brundrett offers some top tips.
Negotiation is one of the four core principles of a-n/AIR’s Exhibition Payment Guide. This quick guide offers 10 tips for better negotiation.
a-n/AIR’s Exhibition Payment Guide calls for written confirmation of exhibition and financial details in the form of a contract or letter of agreement. This quick guide offers 12 key points an agreement should cover.
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.
a-n/AIR’s Exhibition Payment Guide says artists should make sure they provide clear evidence of their work and experience when approaching a gallery with a proposal. This quick guide offers advice on the main areas to consider when developing a proposal, and includes tips on what to include when responding to an approach from a gallery or making a speculative pitch.
A budget is an essential tool for any artist planning a new project, making a funding application or drawing up a business plan, while a-n/AIR’s Exhibition Payment Guide asks artists to provide a clear exhibition proposal and budget in advance of negotiation. This guide by the Cultural Enterprise Office in Glasgow offers straightforward advice on how to construct and manage a simple budget.
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.