University of Plymouth, Plymouth
25 – 28 March 2008
Research in bite-sized pieces.
The Yale Center for British Art, which houses the largest and most comprehensive collection of British art outside the UK, has received $415,000 from the Mellon Foundation to support research programmes in the history of British art and culture.
Text-only version of a-n Research paper: Art work in 2007 with live weblinks.
Many artists aspire to permanent studio space, whether self-initiated or rented through a specialist organisation. Here, we explore some current options for artists and makers with the focus not only on developments in London but also elsewhere in England, Wales and Ireland.
Projects unedited blog by Ceci Lombardi & Marco Palmieri
Professional development opportunities are widely available, ranging from cash awards to advisory sessions and critical debate.
Emilia Telese’s opening essay offers analysis of the markets for art in the UK highlighting the ‘contradictions and idiosyncrasies’ of the relationship between artists and money,
Guyan Porter talks about the socio-economic dynamics of art markets and deconstructs notions of the art market in the UK.
Although it is sometimes considered that having an individual studio space is the aspiration of artists, for those who need to use expensive specialist equipment for a limited or specific period, gaining access to a workshop facility with technical support to hand is sometimes the better option.
Gone Tomorrow Gallery, London
7 July – 5 August
Bonington Building
6 June 2007 to 6 June 2007
A survey of 1,500 undergraduates commissioned by the Higher Education Policy Institute on Universities has indicated that the work put in by students in England varies greatly between both subjects and institutions, bringing the value of a degree into doubt.
Debra Savage’s case study-based research into the realities of professional artistic practice.
In order to ensure their fees keep track with their level of experience and the general rate of increases in costs of living and overheads, September’s a good time for artists to review their approaches to budgeting and charging.
A rundown shop in Southwell, Nottinghamshire has been transformed into artists’ studios, workspaces and a gallery as a result of a grant of more than £100,000 from Arts Council England, East Midlands.
a-n’s research in 2004 defined a good practice framework on fees and payments to artists, that is supported by Arts Council England. The following annual and day rates are suggested from 1 September 2006. Experience level Annual £ excluding overheads […]
Stephanie Délcroix on the processes of public commissioning in France.
Eleven promising artists from the East of England will showcase work in London in July. Selected as part of Escalator Visual Arts initiative, the group represents a diversity of career stage, with two artists graduated within the last year, whilst […]
Stephen Palmer explores the issues surrounding artists and their studios – from finances, time and work patterns and location to group set-ups and DIY options.
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.
In February, contributions were invited by a Parliamentary Select Committee from key visual arts organisations to an inquiry into DCMS’s support of the art market, in particular into “ways of supporting and encouraging living artists and the production of new work”.
