After a lengthy baited-breath waiting period, the government’s Comprehensive Spending Review that sets public funding levels for 2008-11 was announced.
In November, a public liability insurance scheme aimed especially at practising visual and applied artists will be launched through a-n. Here we set out the context for the new scheme and highlight the research by Platform 3 that has informed it.
After a far-reaching review and reshaping exercise, the Crafts Council has launched its new three-year plan. Describing itself as the national development agency for contemporary crafts in the UK, its key areas of work for the future are summarised as […]
The Mayfly connotes ephemerality, a point no doubt in the minds of those naming this series of three one-day events.
In response to artists’ own needs for greater engagement with arts interested audiences – whether for selling or conversational purposes – many artists cluster together to create open studio events.
This toolkit takes artists step-by-step through a process to calculate an individual daily rate and prepare quotes for freelance work.
From an application of over 115, seventeen projects will receive funding for networking programmes designed to develop future and emerging cultural leaders.
Zoë Walker and Neil Bromwich’s Limbo-Land is a multi-media installation focused around the space of oblivion, confinement, or transition.
Gillian Nicol explores the nature of collaborative and creative processes involved in making artwork in the public realm.
With inflation about to hit a ten-year high1, to what extent can the practices of artists nowadays resist the pressures of the real world?
Over 4,300 practising artists are already benefiting from AIR
In December, the Scottish Executive published the draft Culture (Scotland) Bill.
Arts Professional’s recent survey shows that arts organisers across all art forms are badly paid, with over half earning less than £25K annually.
This month’s Opportunities focus on international residencies, will sit permanently on www.a-n.co.uk1 as a signpost to regular international residencies that have regular deadlines. Artist Michael Cousin2 has researched this focus alongside his busy practice as an artist, and offers some […]
Evaluation of Scottish Arts Council’s interest free loan scheme Own Art has revealed that Scotland’s contemporary arts market is thriving.
An exploration of professional development support needs for makers in the West Midlands has identified that as makers’ working patterns are characterised as “multi-tasking portfolio workers”.
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.
In the world outside the arts, when someone offers something – a house for sale, a job, work from a tradesperson, a proposal of marriage even – this is generally the opening gambit in a negotiation process by which what […]
Charlie Fox on what networking means to artists.
Paul Matosic’s letter (June issue) raises important issues for all artists for whom operating professionally is vital.
In the past, the products of public art tended to be manifested through regeneration schemes such as the GardenFestivals (Stoke on Trent, Glasgow and Gateshead) and a spirited campaign instigated by the (then) Arts Council of Great Britain for ‘per cent for art’.
A series of Vox box style reflections by some of the artists who have experienced NAN.
