Introduction - a-n The Artists Information Company

In this short introduction Paulette Terry Brien, co-director of International 3, and co-curatorial co-ordinator of The Manchester Contemporary, sets the context for the symposium Fair Cities.

Developed by Steve Pool, Artists working in higher education includes a guide and four profiles that explore the ways artists are currently engaging with the HE sector. This introduction highlights the diversity and value of such relationships, and offers some key tips for working in the field.

An overview of curatorial practice, highlights profiles and other resources on this topic.

Emily Druiff and Sophie Hope discuss independent practice in relation self-initiated curator and artist-led projects.

Growth of independent curators and curatorial agencies within the UK over the last decade is no accident. Generated in part as a response to inherent constraints within the traditional gallery and museum world and development of specialist curatorial courses, it has undeniably brought fresh perspectives to artist-curator relationships and, increasingly, supports those practitioners seeking to move across into curation as a natural extension of their visual arts practice.

An overview of the types of private and public galleries and organisations that constitute the UK’s art world. Examples demonstrate what drives them, as well as the imperatives of some of the artists who exhibit and develop work for them.

Paulette Terry Brien reveals how a number of national public-funded galleries and organisations have expanded notions of exhibition programming beyond pristine white-walled gallery spaces, and are commissioning artists to make new and challenging work within the institution, as well as off-site.

Beyond the curatorial work established by and presented from within art museums and galleries, a plethora of curatorial organisations operate in order to support and develop the practice of curating. This tour, by Charlotte Frost, examines some of the different remits addressed by curatorial organisations, providing an initial orientation in their hugely diverse activities.

How does a maker reach the market? Freelance consultant and Market Development Manager for Cockpit Arts Abigail Branagan highlights the key routes.

Independent curator Jeni Walwin looks at issues relating to selling work and examines a number of different ways that artists can engage with the art world on a commercial basis.

Sarah Thelwall reveals that there is not one art market but several different ones. These markets are very different in terms of the artists, gallerists and collectors who participate and develop them. This Art market tour articulates the main markets and looks at what drives them.

Mark Gubb asks public art commissioners and consultants their views on how they select artists for commissions and what they expect artists to prepare for interview.

Jane Watt looks into the world of academic research and examines research opportunities for artists within institutions and the UK higher education system.

Jane Watt delves into the process of commissioning and looks at the organisations and bodies offering opportunities to artists at all stages of their careers. Fully updated for 2008.

Paul Stone explores the wide range of International residency options available to artists and offers a framework for considering what you might want from a residency.

Chris Brown introduces a rulebook to guide you through the whys and wherefores of artist-led activity.

Introduction to Artists’ strategies and self-management

Manick Govinda on the often secretive processes behind awards by nomination as well as the benefits for artists in terms of recognition and critical acclaim.

Nina Madden gives an overview of some of the visual art prizes selected from open submission competitions.

Stephen Palmer explores the issues surrounding artists and their studios – from finances, time and work patterns and location to group set-ups and DIY options.

Paul Glinkowski looks at the UK studio landscape, highlighting successful new studio models. He also offers advice to artists wanting to set-up their own group.

Brigid Howarth presents an insight into the mind of the art buyer, from private buyers to corporate and public collections.