The contracts toolkit
This toolkit is an introduction to the contractual process, enabling artists to assess contracts and to build their own.
This toolkit is an introduction to the contractual process, enabling artists to assess contracts and to build their own.
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.
Susan Jones’ analysis and commentary of Artists’ work in 2013 uses data drawn from a-n.co.uk/jobs to track current trends in artists’ employment.
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. This report aims to widen understanding of the history and prior good practice thinking and attitudes around payment to artists.
An analysis and commentary on artists’ work and opportunities in 2012.
After joining Degrees unedited in March 2013 Jasper Weinstein Sheffield has showed us there’s much more to his conceptual approach than a blade of grass. He tells us more as prelude to degree shows at Northumbria University.
Ali Reed joined the Degrees unedited blogs in November 2012, since then we have seen her work develop site-specifically and professionally. Here she tells us of her plans for degree shows at Staffordshire University.
After joining Degrees unedited in February 2013 Catriona Meighan has explored book works and large scale installations during her time at Edinburgh College of Art. In time for degree shows she tells us of her aspirations for negative space.
6 December 2011. 3331 Chiyoda, Tokyo. Edited transcript of recorded interview.
As part of Joshua Sofaer’s Artist as Leader research, Masato Nakamura discusses his commitment to transforming the art education system in Japan, and the inauguration of a new model of art centre “founded on the basis of artist leadership”.
Lauren Healey talks to Northern Art Prize 2011 winner Leo Fitzmaurice about objectness, appropriation and his time-intensive research process.
Over the course of four years, artists, curators and writers were invited to select blogs from the a-n site. Their choices highlights the range and depth of practice discussed on a-n’s artists’ blogging platform at that time.
Video of the artists Yoko Ishiguro and Fiona Templeton discussing ways ideas accumulate; funding, audiences and understanding of performance art across US, UK and Japan, and the value of residencies.
Lauren Healey talks to Neville Gabie about his extensive experience of residencies in settings from building sites to Antarctica, embedding himself in communities and the importance of establishing the right kind of relationships.
Video of the artists Ellie Harrison and Jordan McKenzie in conversation, with insights into surviving financially, alternative ways of doing things and using humour to engage people.
Video of the artists, Richard Layzell and Hunt & Darton in conversation on the commonalities of their practices, working immersed in business environments, building community and embracing risk and uncertainty.
In June 2012, following four years of study in the Painting and Printmaking department at Glasgow School of Art (GSA), Nick Thomas exhibited his final year work. By July he had helped put together ‘NEW FIRM’, an exhibition by himself and 46 of his peers, at London’s Candid Arts Trust. We caught up with him, in Glasgow, on his return.
Matthew Hearn profiles the practice of Kelly Richardson, with particular focus on her approach to working internationally, and her recent commission for Pixel Palace at Tyneside Cinema.
After his first solo show in London this June, Richard Taylor talks to Chris Agnew about MA study, moving his studio practice to Romania, individualising professional practice, plus much more.
A round-up of projects that explore approaches to making and siting art beyond conventional white cube spaces – from travelling fairgrounds and riverboat processions to site-responsive installations and public sculpture.
This Research paper forms part of a series that looks specifically at the nature and value of openly-advertised work and opportunities for visual and applied artists. Drawing on data published on www.a-n.co.uk/jobs, this series set out in 2007 to track […]
This Research paper forms part of a series that looks specifically at the nature and value of openly-advertised work and opportunities for visual and applied artists. Drawing on data published on www.a-n.co.uk/jobs_and_opps, this series set out in 2007 to track on an ongoing basis the key categories of awards/fellowships, academic posts, art vacancies, commissions, exhibitions, residencies and competitions/prizes, and by doing so, to identify any trends arising, and provide commentary and contextual evidence and analysis from other related sources, to contribute to arts and cultural consultations and policy.
A guide through six years of professional artist practice by Kai-Oi Jay Yung; an artist whose track record adheres to a-n’s ongoing mission to provide resources for graduates and early career practitioners as they step up the ladder and beyond.
Reyahn King explores the role of galleries within professional development for visual artists. In the current climate, how can professional development for visual artists be continued and improved? This paper suggests that one answer lies in the relationship between publicly-funded regional galleries and visual artists becoming wider, deeper, and more strongly valued.
Early in March I was in Margate for the National Federation of Artists’ Studio Providers’ (NFASP) AGM and a series of events designed to bring artists and studio providers together to share experience, intelligence and generally bond.
Two recent reports highlight the need for leading galleries and museums to better support contemporary artists and their practice.