The publication on Tuesday of an a-n news feature investigating the subject of open exhibitions and entry fees has prompted a flood of comments on social media.
While strategies to pay artists better are forging ahead in the UK, this vital issue is also on high on the agenda in some other countries. Susan Jones reports on Working Artists: aspects of art and labour, a recent conference in South Korea which she also spoke at.
A symposium in Seoul this week will address the issues of artists’ fees in Korea and will include discussion of a-n/AIR’s Paying Artists campaign.
The issue of artists’ pay and exploitation in the US is prompting a variety of responses that question what it means to be an artist in the current economic climate. Abigail Satinsky, associate director at Chicago’s Threewalls gallery, surveys the landscape and asks whether we need to look at how we value and define art and artists.
What are artists’ associate programmes and what do they offer within the broad landscape of artists’ professional development? What should artists consider before applying? Based on extensive research into sixty arts organisations across England, Scotland and Wales, this guide by Dany Louise offers artists help in thinking through the various options available to them.
Part of the Paying Artists research portfolio, Sarah Thelwall’s report explores how public sector galleries can think differently about budgets for artists’ fees.
Commissioned as part of Paying Artists research portfolio, Sarah Thelwall’s report explores how public sector galleries can think differently about budgets for artists’ fees.
East Street Arts has developed the first live/work space for a socially-engaged practitioner in Leeds – and the job is open for applications.
The Artists’ Assembly Against Austerity is to launch this month. We speak to Season Butler about how artists can get involved.
a-n / AIR’s Paying Artists campaign video is now live – watch, like and share widely to support the campaign!
Eight artists have been selected for Devon open exhibition
London can be an expensive place to be an artist, but what are the advantages of basing your practice outside the capital, and how are those that choose to stay in London making it work? Pippa Koszerek reports from Standpoint Gallery’s recent MAP Symposium.
a-n The Artists Information Company has successfully secured continued support from Arts Council England as part of its National Portfolio of funded organisations 2015-18.
An open letter from artists in Manchester is calling on publicly-funded galleries to do more to support artists who live and work in the city.
The artists for the 2014 edition of Bloomberg New Contemporaries, which will this year form part of the Liverpool Biennial programme, have been announced.
Canada’s representative bodies for artists, CARFAC and RAAV, have won their court battle with the National Gallery of Canada to set a binding minimum fee for artists.
Another 23 artists have been awarded funding in the latest round of a-n’s New collaborations bursary scheme, which supports critical and artistic development through collaborative working.
This report – the sixth in the Paying Artists research portfolio – draws together examples of how artists’ fees for exhibiting are arrived at in Sweden, Norway, Canada and Poland; and the conditions and contexts that underpin their application.
Draws together some examples of how artists’ fees for exhibiting are arrived at in other countries and the conditions and contexts that underpin their application.
Why do so many artists get asked to work for free, so often? And what’s the best way for an artist to deal with these requests, and ensure they’re financially secure and their work is valued? Michelle Aldredge explores the problem and encourages ‘mindful decision-making’ as a way forward.
20 free delegate passes, specifically for emerging independent artists, have been made available to February’s No Boundaries symposium on the role of culture in 21st century society. But applicants need to be quick – the deadline is 5pm on Tuesday 11 February.
This week, representatives from across the fields of labour, sociology, economy, law, and arts administration, come together in New York to write the policy for W.A.G.E. Certification.
Arts Council England has set out its agenda for arts investment for 2015-18, and alongside an announcement that the National Portfolio Organisation budget will combine Lottery funding with government grant-in-aid for the first time, ACE also says it is expecting NPOs to pay artists fairly.
At a-n, we know that small awards to artists specifically for self-determined professional development make a big difference. That’s why we’re extending the artists’ bursary programme in 2014.
Susan Jones introduces a collation of key documents and evidence that informed a-n’s publication of fees and payments guidance and good practice documents in 2003-04. The report aims to widen understanding of the history of, and prior good practice thinking around, payment to artists.
