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.
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.
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.
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.