Enables artists to calculate an individual daily rate for services they supply based upon their unique circumstances and overheads and to prepare quotes when pitching for freelance work.
This toolkit takes artists step-by-step through a process to calculate an individual daily rate and prepare quotes for freelance work.
Sample day rates to guide arts budgeting and help visual artists negotiate a fair rate of pay for short-term contracts.
For this follow up to her Approaching galleries guide, Jennie Syson asked artists, arts managers, curators and gallery directors to share their top tips, and dos and don’ts advice.
Here in the UK, as the Paying Artists campaign revealed in 2014, the majority of contemporary artists are barely surviving financially, with no or low pay the norm. In real terms, nearly three-quarters of artists are getting just 37% of […]
As part of a broad range of research around artists’ fees, a-n commissioned arts writer and researcher Dany Louise to investigate sources of advice within and external to the visual arts that offer guidance on fees and payments to artists.
This toolkit enables artists and students to develop themselves and their practice. It provides self-reflective material suitable for any career stage and allows artists to review their position and explore ways of developing.
This toolkit is an introduction to the contractual process, enabling artists to assess contracts and to build their own.
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.
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.
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.
The first results of AIR’s UK-wide Paying Artists Survey – which focuses on artists’ experiences of publicly-funded galleries – reveal low earnings, miniscule or no fees at all for exhibiting, and shrinking production budgets.
AIR announces campaign to improve payment of artists.
A speaker from New York’s W.A.G.E. campaign joined Glasgow-based artists this week to talk about the ‘non’ payment of artists’ fees. a-n reports from Glasgow.
Public meeting in Glasgow to address the need for artists’ exhibition fees.
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?
AIR – Artists Interaction & Representation welcomes the opportunity to contribute to the workforce development plan for the visual arts.
Russell Martin’s guide to running your own gallery demystifies the process of setting up an artist-led space and highlights the issues to consider before taking such a step.
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Debra Savage’s case study-based research into the realities of professional artistic practice.
The recent coverage in a-n publications on good practice and rates of pay for artists is very useful, but I think that an important issue has not been covered.
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.
We are a local authority-run gallery who occasionally employ artists and other workers to do workshops with us on our premises.
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.
Paul Matosic’s letter (June issue) raises important issues for all artists for whom operating professionally is vital.
