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.
Resources - Page 4 of 169 - 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.
Leila Alexander, of White Cube and Leila Alexander Consultancy, discusses top tier art market activity and considers London and her experience of the blue-chip gallery system in relation to the infrastructure of Manchester and the wider North West region.
Art fair co-director Liv Vaisberg discusses the ecology of Brussels and how recent press attention has reframed the city anew, in relation to the growth of the art market.
Alys Williams, Director of VITRINE, London, discusses her recent gallery expansion to Basel and how the city is a key player in international market activity.
Paulette Terry Brien chairs a panel discussion with Leila Alexander, Liv Vaisberg, and Alys Williams, exploring the ecology of key art market centres in relation to the context of Manchester and the North West of England.
How do fine art courses prepare their students for life after art school? How is professional practice shaped by factors such as location, course philosophy, and the cultural and political climate? Sarah Rowles unpacks the findings of Q-Art’s new publication, Professional Practice: 20 Questions – Interviews with UK undergraduate Fine Art staff exploring how students are prepared for life after art school.
Getting on top of your business puts you in control. Actively driving the business side of your practice forward makes you more productive. Achieving minor goals and ‘dealing’ with the admin also boosts feel-good factor, making you more time for your creative practice. Here, Kate Brundrett offers some top tips.
Sectoral guidance and framework, produced by a-n and AIR as an outcome of the Paying Artists Campaign, providing specific advice on payments within the context of exhibitions or other visual arts presentation to the public.
Created specially for the Paying Artists Campaign by artist Dan Thompson, the Artist-Led Manifesto sets out the principles of fair payment for artist-led groups and collectives who may be in receipt of public funds, but who may also operate without funds at the directive of the artists involved.
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-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.
a-n/AIR’s Exhibition Payment Guide calls for written confirmation in the form of a contract or letter of agreement. This quick guide outlines the essential ingredients of a contract, gives guidance on what form a contract should take, and offers tips on negotiating and agreeing contractual arrangements.
a-n/AIR’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.
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/AIR’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.
Primarily aimed at self-employed artists, this guide sets out why people should be considering a pension or retirement plan and offers advice on a number of different choices that are available.
Artists on low incomes may be able to apply for Child Tax Credit or Working Tax Credit. This guide offers advice on eligibility and how to apply.
As a professional artist you may spend a good part of your time sending out invoices, chasing payments and generally worrying about your cashflow. This guide considers different payment options and offers practical advice on managing debtors.
When selling work through a gallery, how does an artist deal with VAT on sales commission? This guide by financial services experts Counterculture and VAT advisory service SOC VAT explains the two principle methods.
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.
Within UK universities, visual artists are working across university departments in many different ways ranging from arts and health initiatives, residencies and cultural heritage projects to commissions, teaching and PhD research. Artist Steve Pool identifies some key ways artists are working within HE and considers the value of such relationships to both artists and institutions.
Artist Paul Evans discusses how his work became aligned to the research undertaken within universities and how his socially engaged practice has enabled academics and the public to better understand the nature of university research. Based on an interview by artist Steve Pool.
Kwong Lee of Manchester-based Castlefield Gallery discusses how the gallery works with universities in the city in to provide professional development support to students and contribute to cultural policy research, and offers his views on practice-based research and PhD programmes. Based on an interview by artist Steve Pool.
Kate Pahl, Professor of Literacies in Education at University of Sheffield, discusses what artists bring to academic research projects, and identifies some of the challenges artists and academics face when working together. Based on an interview by artist Steve Pool.
Having developed a practice based around working with people in a participatory manner, in 2015 Anthony Schrag completed a practice-based PhD exploring the relationship between artists, institutions and the public within participatory public artworks. He discusses his reasons for undertaking a PhD, and gives advice to artists considering this option. Based on an interview by artist Steve Pool.