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Resource Guide

Transparency template

Guidance for organisations on how to shape policy statements on Exhibition Payment. Produced in support of a-n/AIR’s Exhibition Payment Guide, which calls for organisations to be transparent in their working practices with artists by publishing clear and transparent payment information.

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Working for free: what’s to like?

Artists are often asked to work for free in return for exposure via social media likes and audience praise, so for a recent commission (paid) Alistair Gentry decided to walk around Folkestone dressed in a cliched ‘artist’s costume’ asking other types of worker if they’d do the same. Perhaps unsurprisingly, they weren’t particularly keen.

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Blog Post

On money, blades of glass and the Gideons

A staggering 8 years after the last post on this blog, I wondered whether what I was writing in 2008/2009 is still relevant today. Essentially I was asking: Where do we stand, as artists, within the UK economy? How do we relate […]

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Making rent, making work: the strapped for cash art

One half of the London-based performance company There There with Dana Olărescu, Bojana Janković argues that the economic pressures more and more artists face are ultimately shaping the kind of work that gets made, especially by emerging artists, with profound and long-term consequences.

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Resisting gentrification: why we should fight hard to protect affordable creative spaces

Newcastle-based artist Kathryn Hodgkinson believes that the city council’s planning decisions are having a detrimental effect on the area’s creative community. In the wake of the recent decision to demolish the creative space Uptin House to make way for ‘yet another block of student flats’, she argues that local authorities need to embrace the true value of artists.

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In Brief: other news this week

A weekly briefing featuring national and international art news, including: artist Tania announces bid for Cuban presidency, Anicka Yi wins 2016 Hugo Boss Prize, and divided reception for Doris Salcedo’s memorial in Bogotá.

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