As a former teacher now working for the past five years as a gallery educator and also a freelance artist I have been interested to follow the a-n proposals on artists’ fees.
This month sees the launch of AIR – Artists’ Interaction and Representation.
Frieze Art Fair is upon us once again, and as well as 150 art galleries from around the world showcasing over 1000 artists’ work, visitors can take advantage of an ambitious curatorial programme, under the umbrella term of Frieze Projects.
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]
The unfairness of age restrictions on art competitions and opportunities for artists has been aired in the pages of a-n Magazine over many years.
In September, the A Foundation launches Greenland Street, a major new contemporary art centre in Liverpool.
Six innovative new commissions by animate! tv will receive a terrestrial TV premiere on Channel 4 in November.
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.
Various locations, Whitstable, Kent
3-18 June
Jane Watt outlines the core strengths of NAN and looks to the future.
Hannah Firth will be the Curator for Wales at the Venice Biennale of Art 2007, joining the team headed by Michael Nixon.
July sees the launch of a major new £1 million commissioning initiative.
June marks the completion of a-n’s 25-year programme of research, debate and publishing.
Forest of Dean, Gloucestershire
6-8 April
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.
Despite the fact that more people than ever before are going to galleries, the upsurge of festivals and public and the willingness of foreign collectors to buy British art, it’s clear from talking to artists that their bank accounts are in as dire a state as they’ve ever been.
Nina Edge on her portfolio career.
Artist’s motivations when working in the public realm.
Back in 1980 I left Wolverhampton Poly with a BA in ceramics.
A series of Vox box style reflections by some of the artists who have experienced NAN.
In November, some forty representatives of directors, visual artists and writers from thirteen European countries met in Amsterdam for a conference organised by EURO-MEI.
The evolution of public art is an ongoing process and as an arts practitioner I contribute my share through work with Chrysalis Arts, which is currently celebrating twenty years of live and public art practice. As a co-founder and director I feel it is time for some reflection on the climate for creating artwork in public places and consider what the future holds.
Artist’s jobs and opportunities 2003 – 2005
Accompanies the ‘Art work 1989 – 2003′ analysis of artists’ jobs and opportunities. Reviews the situation in 2005 and compares findings with those from 2003. Discusses the implications for artists in 2006 and beyond.
