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.
This toolkit is an introduction to the contractual process, enabling artists to assess contracts and to build their own.
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.
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.
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?
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.
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 […]
Aimed at public sector arts employers, commissioners, consultants and arts trainers, Good practice in paying artists addresses the context for fees and payments for artists’ residencies, workshops and community commissions.
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 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.
Artists and advisers identify key questions to ask to help sift the good opportunities from the mediocre, and the downright mendacious.
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.
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.
Read guides and profiles that offer valuable information, insights and strategies on art practice from a range of expert voices. Plus extensive archive of past publications.
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