The key finding of this study reveals that shockingly few individual artists apply for funding in their own right, and even fewer are successful. What this means is that there is little direct funding being given to artists to pursue and develop their own projects, under their own control – under 20% of available funding for the visual arts in England, 14% for Northern Ireland and around 18% for Scotland and Wales in 2009-2010.
A response to the recent Debate piece: Why are artists poor?
Dan Thompson from The Revolutionary Arts Group reveals how artists are once again making use of empty spaces as a means to kick-start both the cultural and economic well being of town centres, and suggests seven steps to enable this area of practice to flourish.
Artists in their hundreds across the US responded to a request on the New York Times website asking them how the economy is affecting their lives and work.
Further to the public art commissioning debate that has been published in a-n Magazine since April 2008, artists may be interested to know that the RBS has endorsed the practice of paying for proposals.
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.
Artists’ Insights Coordinator Simon Zimmerman reports on a new development.
Yuen Fong Ling on shifting Identities in Hong Kong
A-n’s commissioned research into rates of pay.
a-n’s research in 2004 defined a good practice framework on fees and payments to artists, that is supported by Arts Council England. The following annual and day rates are suggested from 1 September 2006. Experience level Annual £ excluding overheads […]
Valley Artists is a mix of established practitioners, recent graduates and current students.
Analysis of past and current situation for artists’ fees and payments, introducing some issues for artists, employers and policy-makers to consider in the future.
Funded by Arts Council England, this research study in 2004 prefaced new resources from a-n to extend the Code of Practice and demonstrate good practice within artists’ fees and payments, for use by artists and public-sector employers and commissioners. For current sample rates go to Guidance on fees and day rates and for latest Paying artists research go to www.a-n.co.uk/tag/paying-artists
a-n’s Director of Programmes Susan Jones introduces Good practice in paying artists.
A budget is an essential tool for any artist planning a new project, making a funding application or drawing up a business plan, while a-n’s Exhibition Payment Guide asks artists to provide a clear exhibition proposal and budget in advance of negotiation. This guide by the Cultural Enterprise Office in Glasgow offers straightforward advice on how to construct and manage a simple budget.
a-n’s Exhibition Payment Guide says artists should make sure they provide clear evidence of their work and experience when approaching a gallery with a proposal. This quick guide offers advice on the main areas to consider when developing a proposal, and includes tips on what to include when responding to an approach from a gallery or making a speculative pitch.
In the first part of her Negotiating with confidence guide, Rivca Rubin, a trainer-facilitator-mediator, coach and mentor, discusses how structure, attitude, and the ‘power of words’ can facilitate successful negotiations.
In the second part of her guide to negotiations, Rivca Rubin discusses how through active language choices, we can create more satisfied and invigorated negotiations with galleries, organisations and commissioners.
Juan Bolivar, an artist and curator, explores the history and practice of curating, and provides ten key questions for independent curators and artists to help guide you in developing your first exhibitions. Bolivar’s painting practice runs parallel to his curating practice; first initiating TRAILER (2001-05) – an artist collective utilising temporary locations to stage exhibitions – and since, going on to curate over 40 exhibitions as an independent curator.
Hen Norton explores the use of fundraising platforms online and offers her top ten tips to help you build a sustainable creative business or project, and reach a wider and more engaged network of supporters through crowdfunding.
a-n/AIR’s Exhibition Payment Guide calls for written confirmation of exhibition and financial details in the form of a contract or letter of agreement. This quick guide offers 12 key points an agreement should cover.
Negotiation is one of the four core principles of a-n/AIR’s Exhibition Payment Guide. This quick guide offers 10 tips for better negotiation.
A best practice reference guide to use when creating an agreement for a solo or group exhibition with a gallery or organisation presenting visual arts. You can also use the a-n Contracts Toolkit to build a contract to the specific exhibition context, and this checklist will support you with this.
Proactively seeking out opportunities to realise exhibitions and projects is an important strategy in the arts. Adam Smythe, Curator at the Bluecoat in Liverpool, gives some advice on the best methods of approaching galleries with exhibition proposals for your own work or for curatorial projects.
