Introduction Costing and Pricing are two separate but inter-related processes. Many artists focus on finding the right “price” for their work but this can’t be done in the absence of knowing how much it costs to make. This text is intended to help you establish how much it costs you to make your work (the […]
Saturday 9 April, 1 to 5pm Pricing your work with Patricia Clyne Kelly Venue TBC, Bangor Whether submitting a commission proposal, working to a project budget or selling your work, it is essential to know how to calculate costs and to have confidence that the price you ask will be sufficient to cover expenses and […]
This text is intended to help you establish how much it costs you to make your work (the science bit) with a view to assisting you price it (the art bit). Realistic costing will help you find the right market and more importantly help you work out whether you can make a living as an artist.
For artists who work with new media, the ‘sales’ question remains problematic, from philosophical and practical points of view. There is residual resistance to the market, and to the commodification of artworks that it precipitates.
How to build strong relationships with curators and get the most out of their experience when working with public galleries.
Self-organising is vital to any consideration of the artist as curator, and the ways in which the artist as curator has evolved through a cast of artist-initiated and run associations illustrates that artists (as early as 1648 France) have been deeply and actively involved in self-organisation as a form of curating.
This text seeks to be an introduction to how commercial galleries work, how they differ from museums or other public spaces, how they exist in the wider international art market and their relationships with artists.
In recent years the definition of the role of the curator has undergone a dramatic change, and continues still to be refined and challenged. With this change there is also the associated re-definition of the relationship between the artist and curator.
How to avoid the business arrangements between artist and gallery going wrong.
What is an Artist Residency? The term ‘artist residency’ covers a broad spectrum of activity and opportunity for artists. There is no set format for a residency and it can take many forms and be based in a broad range of organisations. Residencies can last from as little as two weeks to as long as […]
A studio can be defined as a room where an artist works. It can be as big as a warehouse or as small as a kitchen table. When a studio is highly structured it becomes an atelier or workshop; but this can also happen on the screen of a laptop computer, depending on what is being made.
Seeking studio space. This was an opportunity to gain insight into established studio organisations and the experiences of the associated studio artists.
Few artists can afford the expense of owning their own studio, particularly at the start of their careers. Working with a group of artists can be a viable economic alternative with the additional advantage of shared information, expertise, facilities and resources.
Commissions can arise from a variety of sources. Artists may apply for or be approached to undertake private or corporate commissions. Opportunities may arise for artists’ projects in the public realm through publicly funded galleries and venues working in off-site locations, sometimes through organised events & festivals.
While all art should be considered ‘public art’, in general, we have come to understand this term to refer to artworks that are located within the public domain – outside of the traditional arts institution, such as the gallery, theatre or concert hall – and where the underlying ambition for the work is to engage in various ways with public audiences and open up possibilities for access to and participation in the arts.
1. Make use of the college facilities before you graduate! It’s very easy to take college facilities for granted but you’ll have to pay for them when you graduate. So use the equipment to finish off works in progress. Use the photocopier to make copies of your CV. Avail of internet, computer and printer access to prepare submissions, proposals […]
Legal Supports for Contemporary Visual Artists – Keynote speaker Henry Lydiate from The Henry Lydiate Partnership discusses the development of his ArtLaw practice and the types of legal supports that contemporary visual art practitioners need.
Public art of any kind takes place in a sphere where many diverse interests meet. Negotiation therefore is a constant demand.
What many artists may not be aware of is that they, as self-employed individuals, have a duty under health and safety law to ensure that their working environment complies with health and safety legislation.
I have won a commission to design a corporate Christmas card for a commercial company. Would you advise me as to the going rate for this type of work? There is no going rate for this type of work as such. Many artists focus on finding the right price for their work but this cannot […]