Artists from across Europe describe what it’s like to work in their country of origin – from the almost desperate situation for some freelance artists in Spain to the generous support on offer in Arctic Norway.
Eleven Scottish visual arts organisations have banded together to improve opportunities for artists and show their worth to policymakers and the public. Shân Edwards shares the story of Scotland’s Workshops.
Artists are the lifeblood of the arts, but their direct funding has steadily declined over the past two decades. A change in approach is now essential, says Susan Jones.
Providing opportunities for creativity shouldn’t be at the expense of the person delivering them. It’s time to pay attention to the needs of creative practitioners, says Nicola Naismith.
A months-long investigation by MSPs has concluded that “urgent, robust action” is needed to ensure fair pay for artists and a viable future for the country’s cultural sector.
Freelancers have a lot to offer arts organisations – and a lot to learn from them too. Carla Kingham considers what is needed for this relationship to work.
Patrick Towell explains why underpaying or under-employing workers can never be in an organisation’s long-term interests and suggests how you can start thinking more sustainably about the big picture – for everyone’s benefit.
Edinburgh Fringe is full of people making obscene amounts of money on the backs of artists who are bringing everyone to the city in the first place, says Kevin P. Gilday. It’s an inequality that is undermining the lofty ideals on which the fringe was formed.
The project-to-project style of artists’ work makes it difficult for them to claim welfare benefits so the Irish government has taken action to help. It’s a small step forward, says Eoghan Carrick.
If your first and preferred language is British Sign Language, what challenges do you face as a Deaf freelance artist – and what can be done to overcome them? Olivier Jamin shares his experiences and offers some advice.
Forty years after founding Artsadmin, departed Director Judith Knight has just one regret: “it’s the most boring name for a company that’s ever existed, probably.”
Helping artists make new work is important, but building longer and deeper relationships with them brings greater rewards for all, says Claire Symonds.
The University of Lincoln's School of Fine and Performing Arts is thought to be unique in employing a professional producer to support students' creative work. Rachel Baynton explains how her role bridges the gap between academia and artistic practice.
