Guides from the a-n resources that I regularly refer to.
Professional Practice - Page 3 of 4 - a-n The Artists Information Company
A new publication by US-based choreographer Andrew Simonet is a call to action for artists to harness their creative know-how to create an economically sustainable lifestyle.
How do artists fare when they show work in publicly-funded galleries in the UK? Research in 2013 led by AIR – Artists Interaction and Representation as the first stage in the Paying artists research and campaign presents some thought-provoking data […]
Reviews approaches to teaching professional practice within fine and applied arts programmes and identifies the role a-n and other professional development organisations can have in supporting student learning in the future.
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.
Summary of key findings of the 2011 AIR artists’ advisory group and a-n survey of its 16,500 membership to better understand the conditions and concerns of artists.
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-n and Axis are launching a new programme of dynamic, practice-led discussions on hospitality, space and contemporary art making, researched and directed by artist, curator and writer Sonya Dyer. Here, she sets out her thinking for the programme.
A guide for artists and arts organisers to creating a mutually-beneficial relationship.
Jayne Knight is Arts Development Manager at Suffolk County Council. She was the driving force behind Making Art Work, an ambitious and widely regarded professional development programme for Suffolk-based artists that ran from 1999 until 2006. She talks to Jane Watt about how the scheme developed, her work in a local authority and survival tips for rural-based artists.
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.
Linda Ball is project leader of Creative Graduates Creative Futures the largest research study to date about the career paths of art and design graduates. She talks to Jane Watt about the research, her own experience of a portfolio career and the importance of having creativity at the core of professional practice.
Mir Jansen, Programme Manager of the professional development programme at Yorkshire Artspace in Sheffield talks to Jane Watt about how the studio organisation continues to support artists, the parallels between an artists and an organisations profile development, and her top five tips on making funding applications.
Interrogation Walsall that explores the impact that one artist can make in one place in one day is part of Longhouse’s annual programme, which provides professional development opportunities for artists working in the public realm.
Abigail Branagan has been advising artists and makers for over a decade. She is a freelance business advisor as well as Business Development Manager at Cockpit Arts in London. She talks to Jane Watt about what makes a good advice session and how makers are weathering the economic storm.