Artist Newsletter Insurance – Note: Starting April 1, 2023, Artists and Performers are covered by an enhanced insurance policy as part of their membership with . Change details can be found at /about/insurance-changes-april-2023/ along with a list of FAQs. The new policy document is below.
For Artist members and members of the Arts Organizer Public Liability & Products and Professional Indemnity Insurance (PPL and PI).
Artist Newsletter Insurance
Artist and Art Organizer membership includes £10 million General & Product Responsibility insurance and £5 million Professional Indemnity insurance coverage.
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Specifically designed to meet the needs of visual or performing artists and freelancers working in the visual arts field based in the UK. The policy provides protection against their legal responsibility to pay damages:
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Being an Artist member or an Art Organizer member will be covered by this £10 million PPL and £5 million PI policy.
Please note: The documents below are for reference only – logged-in members may find the necessary documents to demonstrate that they are covered under ‘My Account’ (a membership certificate confirms your membership status and insurance coverage).
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Additional insurance may be purchased by members to cover artwork and materials, studio and materials, and employer liability. Policy benefits are tailored to reflect the diversity of work practices and professional needs of visual and performing artists.
Additional insurance can be purchased by members to insure their work en route to and from and while on display at the show.
The Creative Freelance insurance policy is no longer available. PPL and PI insurance policies now cover equivalent protection for Artist members and Art Organizers.
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Membership includes a variety of professional development benefits for artists, art organizers, and students – find out more and follow the Sample daily rates to guide art budgeting and help visual artists negotiate fair payout rates on short-term contracts.
For our latest anniversary publication, Holly Willats explores how social media has changed the practice of artists.
In a nod to the Noughties, Guest Editor Shy Bairns explores the collective and how artists work together to build their own artistic lives.
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The 2021 Guide features artists who graduated this year, as well as Next Steps interviews with Joy Labinjo, Matthew Burrows, and Jody Mulvey.
Catherine Bertola and Rosie Morris provide a platform for women artists and writers to highlight under-visible, marginalized and precarious practices in our second series of archive-celebrating magazine-style publications.
In our first series of archive-celebrating magazine-style publications, the Birmingham-based Black Hole Club explores the past, examines the present and looks to the future.
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It includes an expanded ‘Class of 2020′ section featuring images and insights from graduating students and faculty, as well as extensive interviews with the collaborative duo Jane and Louise Wilson, and groups from across the UK discussing why putting heads together to collaborate is an artistic thing. mindless’. Available on issuu and as a pdf for download.
Within UK universities, visual artists work across university departments in a variety of ways from arts and wellness initiatives, residencies and cultural heritage projects to commissions, teaching and PhD research. Artist Steve Pool identifies some of the main ways in which artists work within HE and considers the value of such relationships for both artists and institutions.
When selling work through a gallery, how does an artist deal with VAT on sales commissions? This guide from financial services experts Counterculture and VAT SOC VAT advisory service describes two main methods.
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A budget is an important tool for any artist planning a new project, applying for funding or putting together a business plan, and the Exhibition Payment Guide asks artists to provide a clear exhibition proposal and budget prior to negotiations. This guide from the Cultural Enterprise Office in Glasgow offers hands-on advice on creating and managing a simple budget.
The Exhibition Payment Guide states that artists must ensure they provide clear evidence of their work and experience when approaching galleries with proposals. This quick guide advises on the main areas to consider when developing a proposal, and includes tips on what to consider when responding to an approach from a gallery or when creating a speculative pitch.
Artists and consultants identify key questions to ask to help make the best use of media and issues.
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Consultant and curator Mark Doyle offers advice on how to generate sales and develop a market for your work, by building relationships with clients and collectors.
In the second part ‘Selling your work: building relationships with clients and collectors’, consultant and curator Mark Doyle provides further advice on selling, aftercare and building relationships with clients and collectors.
Artists, collectors, gallery directors, curators and dealers offer tips and guidance for selling your work and building relationships with clients and collectors.
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In recent years many artists have moved from UK cities to small towns, with access to cheaper workspace and accommodation, better health and wellbeing, and the need for stronger community networks among the factors influencing their decision to move. In this guide, Dan Thompson explores the many and varied reasons artists move.
Nine artists share their stories and advice on how to get the most out of moving house and practicing to new locations. In this follow-up to Dan Thompson’s guide to relocation, artists working in a variety of practice areas discuss how they find new networks, fuel their practice, and seek support mechanisms after moving.
In the first part of the Negotiating with Confidence guide, Rivca Rubin, trainer-facilitator-mediator, coach and mentor, discusses how structure, attitude and the ‘power of words’ can facilitate successful negotiations.
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In the second part of her negotiation guide, Rivca Rubin discusses how we can create happier and more lively negotiations with galleries, organizations and commissioners through an active choice of language.
Contemporary Art Program Manager at the National Trust Grace Davies explores the benefits of assigning artists outside of traditional gallery spaces for non-arts organizations, and offers some of the best tips for artists to consider when applying.
Kevin Hunt has compiled lists of online and print reading materials about the artist-led sector, complementing his essays People like us and the Artist-Led Hot 100 (version ii).
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Hannah Pierce, who has held curatorial and programming roles with organizations including The National Trust and Jerwood Visual Arts, advises and explores key issues to consider when applying for residencies with non-arts organisations.
Kevin Hunt explores the nature of time and death, morphing and longevity in this artist-led project. Written to coincide with the launch of Artist-Led Hot 100 (version ii) and Assembly Liverpool, May 2017.
Read guides and profiles that provide valuable information, insight, and strategies about art practice from expert voices. As well as an extensive archive of past publications.
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