DOCSLIB.ORG

Visual Arts Sector Review Final Report

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Visual Arts Sector Review Final Report Creative Scotland Visual Arts Sector Review October 2016 © 2016 Creative Scotland Contents No part of this publication may be reproduced in any format without prior written permission of Creative Scotland. 5 Executive Summary 8 Background, Brief, Methodology and Deliverables 11 Overview 16 Key Findings The People Excellence and innovation Career progression, sustaining and developing practice Individuals and public funding Work and earnings Education Equal opportunities Equalities, diversity and inclusion Creative Scotland operates an equal opportunities policy. Our offices have 35 The Infrastructure disabled access. Certain publications Overview can be made available in Gaelic, Scots, Geography in large print, Braille or audio format. Employment and financial profiles Connection, collaboration and exchange Contact Enquiries on 0845 603 6000 Typetalk please prefix number with 18001 52 For BSL users, use www.contactscotland-bsl.org The Public Public engagement and audience development Public art, participation and socially-engaged practice This plan is produced in electronic form by Advocacy and the public voice of the sector Creative Scotland — please consider the environment and do not print unless you really need to. Please note 62 that we use hyperlinks throughout this document (to link Appendix 1 — Creative Scotland’s role to other publications, research or plans) which won’t be accessible if the document is printed. Your feedback is important to us. Let us know what you think of this publication by emailing [email protected] 2 3 Executive Summary Creative Scotland Visual Arts Creative Scotland is committed to intended to help form and test priorities Sector Review working in partnership with others for the future, to generate fresh thinking to fund and support the arts, screen about the ways in which the sector works, In our culture the visual is not an add-on extra, a and creative industries in Scotland, to and to unlock new partnerships and give or take thing that we could easily live without. enable them to contribute to a thriving opportunities for funding. This review It is essential to understanding our world and creative future for the whole country. is primarily drawing on the experiences We have published strategies for the of the people who participated in our communicating with one another. Almost more Arts, Screen and Creative Industries consultation, and elements of the report than ever the world around us communicates and have been undertaking a series of will reflect and resonate with some parts visually. Images, both still and moving, are incredibly sector reviews to help us understand the of the sector more strongly than with powerful in allowing us to share and mould our specific circumstances, characteristics others. The publication of this report identities and experiences. and complexities of the different art will be an important staging post that forms we support. These sector reviews enables further work and conversations Rachel Maclean, Artist have underpinned the Arts Strategy and to take place. its commitment to extending the reach, relevance and contribution that the arts make across all of Scotland, and beyond. The people working in the visual arts in Through developing and sharing our 10 Scotland are extremely skilled, ambitious year plan, individual strategies and sector and resourceful. Collectively, the sector reviews we aim to widen understanding generates high levels of excellence, of the potential across the arts, screen innovation and public value across its and creative industries in Scotland, and work. However, the report reveals that support policy and funding approaches on capacities, both human and financial, a local as well as national level. are extremely stretched. This has the potential to impact negatively on levels The Visual Arts Sector Review sets out of motivation and confidence in the our understandings of the visual arts in sector, and raises concerns about future Scotland and the people, places, resources sustainability and growth. and relationships that underpin its achievements. It aims to reveal the sector’s For Scotland to be a recognised, core strengths, identify challenges that international centre of excellence for the lie ahead and propose actions that would visual arts, the sector will need to maintain enable development into the future. and grow the resources required to sustain its work. At a time when the funding The report that follows presents an available to Creative Scotland and other indicative, rather than a definitive, view public partners is reducing this will be of the sector, and how it operates. It is 4 5 a challenge that will require a focussed practice is becoming less sustainable, and of GENERATION. However, if the visual working in the sector need to be in a and determined effort from all involved. impacts negatively on the high numbers arts sector is to maintain its strength and stronger financial position and enabled Positive change has to be encouraged and of artists and other creative professionals achieve its potential, there has to be to explore new ways of working, and new ways of working supported. who are working freelance or self- a compelling and ambitious vision for to build longer term alliances and employed. There are a range of important the future, enabled by committed and strategic partnerships that will build Building resilience at an individual and social, cultural and ideological reasons connected leadership at both a national capacity, generate resilience and organisational level will require high why people work in the visual arts sector, and a local level. underpin future growth levels of creativity and ambition; strong, but artists and creative professionals effective and connected leadership; new One of the first priorities to have • That the richness, value, reach and need financial stability and security to alliances and connections; and longer emerged from this review is how impact of the sector’s work needs to thrive. term strategic partnerships, between leadership in the sector could be most be evidenced and articulated more public and private, and within Scotland Galleries and other visual arts effectively harnessed and developed. clearly, with a view to promoting and beyond. organisations have a critical role to play There are other headline priorities that more widely the excellence and in supporting and sustaining artists, Considerable social, cultural and have emerged from the Review process, public impact of the experiences creating opportunities for their work, economic value is generated across the including: and opportunities that the sector and their thinking, to impact on people’s sector, but stronger and more coherent generates. lives. Many organisations in the sector are • That the ambition and quality of work advocacy is needed to maintain and grow working at the limits of their resources, that has defined the sector needs to This report has identified a number public and private support and to lever unable to invest in the development and be maintained into the future and that of actions that we think could help to in new partnerships and opportunities. delivery of their creative programmes and national and international connections address these priorities but we need Skills, expertise and connections are in extending their public reach. Pressures need to be strengthened to build on to discuss the findings of the review needed if the sector is to be in a position are compounded by the fact that the achievements to date with the sector before we formalise to increase self-generated income and visual arts sector is heavily populated by recommendations and move to establish new investment from public and private • That the ways in which artists and arts organisations of a relatively small scale a development framework for the future. sources. organisations respond to Scotland’s that have limited scope to invest in their Following the publication of this report distinct and diverse communities is a There is no appetite within the sector for development and to build their future, we will invite leaders and partners from activity to be reduced or scaled-back - strength of the sector that needs to across the sector to meet with us to organisational resilience. but limited resources cannot be spread be clearly articulated, and effectively discuss its findings and to explore the too thinly if ambition and innovation are supported by national and local priorities that have emerged, with a view to be sustained. Partners and funders partners to establishing a collective approach to In 2014 GENERATION celebrated 25 years need to be more focussed on the quality development and positive change that of contemporary art in Scotland — a • That the exceptionally high levels of and impacts of the work that the sector will give the sector greater strength into bold and timely initiative that reflected knowledge, expertise and energy that is generating rather than being overly the future. This will enable us to align the the strength, diversity and reach of the people bring to the sector needs to be prescriptive about the quantity of priorities of the visual arts sector with work that is produced and presented fully recognised, appropriately valued outputs and the pace of delivery. those identified in both the Arts and here. It was a landmark moment for the and supported Creative Industries Strategies to ensure The achievements of the sector are visul arts in Scotland made possible • That the financial position of the the most effective use of our resources down to the commitment, expertise and through ambitious and connected majority of artists and other creative and to achieve the high level ambitions creativity of the people that work within leadership, effective co-ordination and individuals working as freelance and and outcomes that we wish to achieve. it. For many years there has been a communication, strong collaborations self-employed across the sector needs culture of low or no pay within the visual and partnership building, enhanced to be improved Amanda Catto, arts which has resulted in a great deal resources and investment.
Load more

Recommended publications
  • A Culture Strategy for Scotland: Analysis of Responses to the Public
    A Culture Strategy for Scotland Analysis of responses to the public consultation: Full Analysis Report January 2019 Contents Introduction .............................................................................................................. 1 Background to the consultation ................................................................................. 1 Profile of respondents ................................................................................................ 1 Analysis and reporting ............................................................................................... 2 A vision for culture in Scotland ............................................................................. 4 Views of those who supported the vision .................................................................. 5 Views of those who did not support the vision .......................................................... 9 Ambition 1: Transforming through culture ......................................................... 10 Views of those who supported the ambition ............................................................ 11 Views of those who did not support the ambition .................................................... 17 Ambition 2: Empowering through culture ........................................................... 25 Views of those who supported the ambition ............................................................ 26 Views of those who did not support the ambition .................................................... 29
    [Show full text]
  • Albert Irvin, Beacon II, 1994 Acrylic on Canvas 186 X 160Cm [Detail] Albert Irvin
    Albert Irvin, Beacon II, 1994 Acrylic on canvas 186 x 160cm [detail] Albert Irvin Albert Irvin OBE RA was born in 1922 in London, where he continued to live and work throughout his life. In the early 1940’s Irvin attended Northampton School of Art. His studies were interrupted when he was called up, serving as a navigator in the Royal Air Force during the Second World War. After the war ended he enrolled at Goldsmiths College in London to resume his studies. In 1962, he returned to Goldsmiths where he taught for twenty years. He also taught as visiting lecturer at art colleges throughout Britain. Irvin’s first solo exhibition was in 1960 at 57 Gallery, Edinburgh followed by New Art Centre in London in 1963 and 1965. He went on to exhibit extensively throughout Europe, the USA and Australia. A major retrospective of his work from 1960 to 1989 was held at the Serpentine Gallery, London in 1990. Irvin was awarded a Travel Award to America by the Arts Council in 1968 and later received an Arts Council Major Award In 1970 he moved into his Studio in Stepney Green and continued travelling to work there from his home at least 3 times a week into his 90s. He formed a working relationship with Advanced Graphics London in 1979, and began producing screenprints with them - the start of a very successful venture. 2 Irvin joined Gimpel Fils in 1982 they had regular, solo exhibitions of his work throughout his life. His works are held in many public collections including Tate, Royal Academy and the Victoria and Albert Museum, London; The British Council; Irish Museum of Modern Art, Dublin; Manchester City Art Gallery; Leeds Art Gallery and The Art Gallery of New South Wales in Sydney.
    [Show full text]
  • KARLA BLACK Born 1972 in Alexandria, Scotland Lives And
    KARLA BLACK Born 1972 in Alexandria, Scotland Lives and works in Glasgow Education 2002-2004 Master of Fine Art, Glasgow School of Art 1999-2000 Master of Philosophy (Art in Organisational Contexts), Glasgow School of Art 1995-1999 BA (Hons) Fine Art, Sculpture, Glasgow School of Art Solo Exhibitions 2021 Karla Black: Sculptures 2000 - 2020, FruitMarket Gallery, Edinburgh 2020 Karla Black: 20 Years, Des Moines Art Centre, Des Moines 2019 Schirn Kunsthalle, Frankfurt Galerie Gisela Capitain, Cologne 2018 The Power Plant, Toronto Karla Black / Luke Fowler, Capitain Petzel, Berlin 2017 Stuart Shave / Modern Art, London Festival d’AutoMne, Musée des Archives Nationales and École des Beaux-Arts, Paris MuseuM Dhondt-Dhaenens, Deurle 2016 Galleria Raffaella Cortese, Milan A New Order (with Kishio Suga), Scottish National Gallery of Modern Art, National Galleries of Scotland, Edinburgh David Zwirner, New York Galerie Gisela Capitain, Cologne 2015 Irish MuseuM of Modern Art, Dublin 2014 Stuart Shave / Modern Art, London Galleria Raffaella Cortese, Milan David Zwirner, New York 2013 Kestner Gesellschaft, Hannover Institute of ConteMporary Art, University of Pennsylvania, Philadelphia Galerie Gisela Capitain, Cologne GeMeenteMuseuM, The Hague 2012 Concentrations 55, Dallas MuseuM of Art, Dallas Schinkel Pavillon, Berlin Gallery of Modern Art, Glasgow Stuart Shave / Modern Art, London 2011 Scotland + Venice 2011 (curated by The FruitMarket Gallery), Palazzo Pisani, 54th Venice Biennale, Venice 2010 Capitain Petzel, Berlin WittMann Collection, Ingolstadt
    [Show full text]
  • Creative Scotland and the Creative Industries
    Creative Industries A Strategy for Creative Scotland 2016-17 Appendix 4 CREATIVE SCOTLAND AND THE CREATIVE INDUSTRIES This appendix outlines some of the ways in which Creative Scotland has provided support for some sectors of the creative industries over the past few years. © 2016 Creative Scotland No part of this publication may be reproduced in any format without prior written permission of Creative Scotland. Equal opportunities Creative Scotland operates an equal opportunities policy. Our offices have disabled access. Certain publications can be made available in Gaelic, Scots, in large print, Braille or audio format. Contact Enquiries on 0845 603 6000 Typetalk please prefix number with 18001 For BSL users, use www.contactscotland-bsl.org This document is produced in electronic form by Creative Scotland – please consider the environment and do not print unless you really need to. Please note that we use hyperlinks throughout this document (to link to other publications, research or plans) which won’t be accessible if the document is printed. Your feedback is important to us. Let us know what you think of this publication by emailing [email protected] CREATIVE INDUSTRIES STRATEGY APPENDIX 4 3 Scotland has developed particular expertise in sector development support for the creative industries with well-established organisations that benefit from a closely integrated community of small businesses, creative organisations and individuals. In terms of networks, WASPS provides a large network of 17 studio complexes across Scotland that house a wide range of creative businesses – over 800 tenants. In addition, the Cultural Enterprise Office provides business development support for creative practitioners and micro-businesses, while Arts and Business Scotland acts as a conduit between the cultural and business sectors, helping to nurture creative, social and commercial relationships.
    [Show full text]
  • 'The Neo-Avant-Garde in Modern Scottish Art, And
    ‘THE NEO-AVANT-GARDE IN MODERN SCOTTISH ART, AND WHY IT MATTERS.’ CRAIG RICHARDSON DOCTOR OF PHILOSOPHY (BY PUBLISHED WORK) THE SCHOOL OF FINE ART, THE GLASGOW SCHOOL OF ART 2017 1 ‘THE NEO-AVANT-GARDE IN MODERN SCOTTISH ART, AND WHY IT MATTERS.’ Abstract. The submitted publications are concerned with the historicisation of late-modern Scottish visual art. The underpinning research draws upon archives and site visits, the development of Scottish art chronologies in extant publications and exhibitions, and builds on research which bridges academic and professional fields, including Oliver 1979, Hartley 1989, Patrizio 1999, and Lowndes 2003. However, the methodology recognises the limits of available knowledge of this period in this national field. Some of the submitted publications are centred on major works and exhibitions excised from earlier work in Gage 1977, and Macmillan 1994. This new research is discussed in a new iteration, Scottish art since 1960, and in eight other publications. The primary objective is the critical recovery of little-known artworks which were formed in Scotland or by Scottish artists and which formed a significant period in Scottish art’s development, with legacies and implications for contemporary Scottish art and artists. This further serves as an analysis of critical practices and discourses in late-modern Scottish art and culture. The central contention is that a Scottish neo-avant-garde, particularly from the 1970s, is missing from the literature of post-war Scottish art. This was due to a lack of advocacy, which continues, and a dispersal of knowledge. Therefore, while the publications share with extant publications a consideration of important themes such as landscape, it reprioritises these through a problematisation of the art object.
    [Show full text]
  • Newsletter Contents 07-08
    Newsletter No 28 Summer/Autumn 2008 He is currently working on a book on the nineteenth- From the Chair century travel photographer Baron Raimund von Stillfried. Welcome to the first of our new shorter-but- hopefully-more-frequent newsletters! The main casualty has been the listings section, which is no New SSAH Grant Scheme longer included. Apologies to those of you who found this useful but it takes absolutely ages to compile and As you’ll know from last issue, we recently launched a the information should all be readily available scheme offering research support grants from £50 to elsewhere. Otherwise you should still find the same £300 to assist with research costs and travel mix of SSAH news and general features – if you have expenses. We’re delighted to say that several any comments on the newsletter or would like to applications have already been received and so far we contribute to future issues, please let us know! have awarded five grants to researchers from around Now, let’s waste no more time and get on the world. Here we present the first two reports with the latest news… from grant recipients on how the money has been Matthew Jarron spent. Committee News Gabriel Montua, Humboldt-Universität Berlin, Germany As promised last issue, we present a profile of our newest committee member: The generous SSAH grant of £206.96 enabled me to cover my travel expanses to the Scottish National Luke Gartlan Gallery of Modern Art in Edinburgh, where I consulted item GMA A42/1/GKA008 from the Luke is a lecturer in the School of Art History at the Gabrielle Keiller Collection: letters exchanged University of St Andrews, where he currently teaches between Salvador Dalí and André Breton.
    [Show full text]
  • Bronwen Sleigh
    Last Updated: October 2015. Please contact CYDONIA for more information. ! BRONWEN SLEIGH Born in 1980 Birmingham, UK Lives and works in Glasgow, UK EDUCATION 2008 MA Fine Art Printmaking, Royal College of Art, London, UK 2002 BA Hons Design (Illustration), Glasgow School of Art, Glasgow, UK 1999 Diploma in Foundation Studies, Art and Design, University of Wales, Cardiff, UK AWARDS 2015 Creative Scotland ‘Professional Development’ Award, Edinburgh, UK The Bet Low Trust Funding Award, Quebec, Canada The Leif School of Art Prize, VAS Open Exhibition 2014 Professional Development, Creative Scotland, Edinburgh, UK The Bet Low Trust, Quebec, Canada 2013 Murray Beith Murray Prize, Murray Beith Murray, Edinburgh, UK 2010 Printmaking Today Award, Printmaking Today, Witney, UK School of Art Purchase Prize, Aberystwyth University, Wales, UK 2009 V&A Print Prize, Northern Print Biennale, Newcastle upon Tyne, UK 2008 Alf Dun Award, Royal College of Art, London, UK Davis Langdon Award, Royal College of Art, London, UK RCA Society/ Thames & Hudson Book Prize, London, UK 2007 Tim Mara Calgary Exchange, Royal College of Art, London, UK 2005 Strathclyde University Purchase Prize, Glasgow Print Studio, Glasgow, UK 2002 On Site Drawing Prize, Glasgow School of Art, Glasgow, UK SOLO EXHIBITIONS 2015 Northern Form, CYDONIA, Dallas, Texas, USA 2014 Re-Construct, & Collective, Bridge of Allan, UK Bronwen Sleigh, Glasgow Print Studio, Glasgow, UK 2013 Construct, Edinburgh Printmakers, Edinburgh, UK 2011 Bronwen Sleigh, Eye Two, Edinburgh, UK 2010 Bronwen Sleigh,
    [Show full text]
  • Graeme Todd the View from Now Here
    GRAEME TODD The View from Now Here 1 GRAEME TODD The View from Now Here EAGLE GALLERY EMH ARTS ‘But what enhanced for Kublai every event or piece of news reported by his inarticulate informer was the space that remained around it, a void not filled by words. The descriptions of cities Marco Polo visited had this virtue: you could wander through them in thought, become lost, stop and enjoy the cool air, or run off.’ 1 I enjoy paintings that you can wander through in thought. At home I have a small panel by Graeme Todd that resembles a Chinese lacquer box. In the distance of the image is the faint tracery of a fallen city, caught within a surface of deep, fiery red. The drawing shows only as an undercurrent, overlaid by thinned- down acrylic and layers of varnish that have been polished to a silky patina. Criss-crossing the topmost surface are a few horizontal streaks: white tinged with purple, and bright, lime green. I imagine they have been applied by pouring the paint from one side to the other – the flow controlled by the way that the panel is tipped – this way and that. I think of the artist in his studio, holding the painting in his hands, taking this act of risk. Graeme Todd’s images have the virtue that, while at one glance they appear concrete, at another, they are perpetually fluid. This is what draws you back to look again at them – what keeps them present. It is a pleasure to be able to host The View from Now Here at the Eagle Gallery, and to work in collaboration with Andrew Mummery, who is a curator and gallerist for whom I have a great deal of respect.
    [Show full text]
  • Edinburgh Galleries Artist Training Programme
    Copyright © Art, Design & Museology Department, 2005 Published by: Art, Design & Museology Department School of Arts & Humanities Institute of Education University of London 20 Bedford Way London WC1H 0AL UK All rights reserved. Except for the quotation of short passages for the purposes of criticism or review, no part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior permission of the publisher. ISBN: 0-9546113-1-4 This project was generously supported by: The National Lottery, The City of Edinburgh Council and National Galleries of Scotland 1 The Edinburgh Galleries Artist Training Programme in collaboration with the Art, Design & Museology department, School of Arts & Humanities, Institute of Education, University of London A pilot programme supported by The National Lottery, The City of Edinburgh Council and National Galleries of Scotland Course Directors: Lesley Burgess, Institute of Education, University of London (IoE) Maureen Finn, National Galleries of Scotland Course Co-ordinator: Kirsty Lorenz Course Venues: Gallery of Modern Art, Edinburgh National Portrait Gallery, Edinburgh Participating Organisations: The Collective Gallery Edinburgh Printmakers Workshop Edinburgh Sculpture Workshop The Fruitmarket Gallery Stills Gallery Talbot Rice Gallery Course Leader: Lesley Burgess, IoE Session contributors: Nicholas Addison, IoE Lesley Burgess, IoE Anne Campbell, SAC Barbara Clayton Sucheta Dutt, SAC Fiona Marr Sue Pirnie, SAC Roy Prentice, IoE Helen Simons Rebecca Sinker, DARE and inIVA Sally Tallant, Serpentine Gallery, London Leanne Turvey, Chisenhale Gallery, London Research Report by: Lesley Burgess and Emily Pringle Photographs by: Lesley Burgess 2 EDINBURGH GALLERIES ARTIST TRAINING PROGRAMME RESEARCH EVALUATION REPORT OCTOBER 2003 1.
    [Show full text]
  • List of Scottish Museums and Libraries with Strong Victorian Collections
    Scottish museums and libraries with strong Victorian collections National Institutions National Library of Scotland National Gallery of Scotland National Museums Scotland National War Museum of Scotland National Museum of Costume Scottish Poetry Library Central Libraries The Mitchell Library, Glasgow Edinburgh Central Library Aberdeen Central Library Carnegie Library, Ayr Dick Institute, Kilmarnock Central Library, Dundee Paisley Central Library Ewart Library, Dumfries Inverness Library University Libraries Glasgow University Library University of Strathclyde Library Edinburgh University Library Sir Duncan Rice Library, Aberdeen University of Dundee Library University of St Andrews Library Municipal Art Galleries and Museums Kelvingrove Art Gallery, Glasgow Burrell Collection, Glasgow Aberdeen Art Gallery McManus Galleries, Dundee Perth Museum and Art Gallery Paisley Museum & Art Galleries Stirling Smith Art Gallery & Museum Stewartry Museum, Kirkcudbright V & A Dundee Shetland Museum Clydebank Museum Mclean Museum and Art Gallery, Greenock Hunterian Art Gallery & Museum Piers Art Centre, Orkney City Art Centre, Edinburgh Campbeltown Heritage Centre Montrose Museum Inverness Museum and Art Gallery Kirkcaldy Galleries Literary Institutions Moat Brae: National Centre for Children’s Literature Writers’ Museum, Edinburgh J. M. Barrie Birthplace Museum Industrial Heritage Summerlee: Museum of Scottish Industrial Life, North Lanarkshire Riverside Museum, Glasgow Scottish Maritime Museum Prestongrange Industrial Heritage Museum, Prestonpans Scottish
    [Show full text]
  • Review of the Scottish Animation Sector
    __ Review of the Scottish Animation Sector Creative Scotland BOP Consulting March 2017 Page 1 of 45 Contents 1. Executive Summary ........................................................................... 4 2. The Animation Sector ........................................................................ 6 3. Making Animation ............................................................................ 11 4. Learning Animation .......................................................................... 21 5. Watching Animation ......................................................................... 25 6. Case Study: Vancouver ................................................................... 27 7. Case Study: Denmark ...................................................................... 29 8. Case Study: Northern Ireland ......................................................... 32 9. Future Vision & Next Steps ............................................................. 35 10. Appendices ....................................................................................... 39 Page 2 of 45 This Report was commissioned by Creative Scotland, and produced by: Barbara McKissack and Bronwyn McLean, BOP Consulting (www.bop.co.uk) Cover image from Nothing to Declare courtesy of the Scottish Film Talent Network (SFTN), Studio Temba, Once Were Farmers and Interference Pattern © Hopscotch Films, CMI, Digicult & Creative Scotland. If you would like to know more about this report, please contact: Bronwyn McLean Email: [email protected] Tel: 0131 344
    [Show full text]
  • Scottish Artists Union Membership Survey: 2017
    Scottish Artists Union Membership Survey: 2017 Report for: Contact: [email protected] © The Lines Between 2017 1 Contents Contents PRESIDENT’S SUMMARY ......................................................................................... 3 Introduction ........................................................................................................... 5 Executive summary ................................................................................................ 6 Section 1: You & Your Work ................................................................................. 14 Section 2: Value of belonging to the Scottish Artists Union ................................... 21 Section 3: Communication .................................................................................... 25 Section 4: Showcasing Your Practice ..................................................................... 29 Section 5: Learning, Impact and Engagement ........................................................ 32 Section 6: Funding ................................................................................................ 36 Section 7: Sources of Income ................................................................................ 39 Section 8: Payment Guidelines & Contracts .......................................................... 43 Section 9: Broader Issues ...................................................................................... 47 Conclusion and recommendations .......................................................................
    [Show full text]