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.
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
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.
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.
Tips on negotiating and agreeing contracts in line with a-n’s Exhibition Payment Guide.
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.
In an age where computer appears to be King, where computers can do practically anything, faster and in some eyes better than their human counterparts I question the need for the pursuit of a time consuming craft – in my […]
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.
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.
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.
I have not written here for some time; which is not really good enough I know. An awful lot has been happening and so I aim to write a series of posts updating you all; but I wanted to start […]
