At the same time, add an interesting and informative artistic statement, and written specifically about the work of the exhibition – not a general statement of the artist. Also think about the audience of that particular show and see if you can focus that particular statement on the audience. Artists` statements are often used by writers who write about the show before the opening. Most public galleries and many private galleries hold exhibitions solely for the purpose of making the work of an artist or group of artists accessible to the public – the sale is only incidental; Exhibition dates cannot be changed without the prior written consent of the artist. The artist`s motivation to participate in these exhibitions may be to publicize their work, to show the sponsor`s support, or possibly to establish a working relationship with the exhibition sponsor and staff. Whatever the motivation, the artist should expect assurance to be provided by the exhibition sponsor. It would be very risky to participate in an exhibition without insurance. must be paid for or provided by the exhibition sponsor. The exhibition sponsor is responsible for the deductible of its policy. The artist must check all repairs if necessary and decide whether he prefers to repair the work himself (financial compensation at an hourly rate) or ask the museum staff or curator to repair the work.
(For more information in the event of loss or damage, see the Artist Checklist: Damaged Works Claims in the Professional Guidelines.) A recommended hourly rate is the purchase plan in your studio, which covers your overhead and work. A recommended hourly rate is $65.00 to $95.00 per hour. C. The checklist of works proposed for an exhibition includes the heading ” (name of curator) retains copyright for the title and concept of this travelling exhibition of the museum entitled “_©_ The Organizer and the Exhibitor undertake to do their best to resolve any disagreement arising out of or under the terms of this Agreement through discussion and negotiation to their mutual satisfaction. In the absence of a negotiated solution between the parties, the organizer and the exhibitor agree to participate in all images, which must be digital and with 300 dpi. All images must be in TIFF format and sent to a CD by mail, unless there are instructions to upload directly to the exhibition sponsor or to a publication. The image size must be 5″ x 8” unless larger images are requested by the exhibition sponsor. V. PHOTOGRAPHY Artists must deliver professional-quality photographic images well in advance of the opening of the exhibition. Ask the exhibition sponsor for their preferred digital format (usually jpg or tiff). Large digital files must be sent on CD by mail at 300 dpi. Sending large digital files over the Internet by e-mail is not recommended.
Artists and exhibition sponsors should make every effort to maintain image quality in the digital age. If you`re emailing small digital files for previewing, chatting, or scheduling the show, make sure employees know that higher-resolution, larger images are available for printing and advertising. The exhibition agreement below is necessarily long and shows how many questions need to be arranged and agreed upon, even for the simplest exhibition; If galleries created such an agreement and used it as a standard form, much of their administrative burden would be significantly reduced, both parties would clearly see their respective rights and obligations, and everyone would know when an exhibition is offered and accepted. In addition, it will be shown that such a form can be used to conclude agreements with individual artists for a group exhibition and for a traveling exhibition, which many galleries and other administrators often perform. Article 10: If the works are not for sale, the public should be informed – often this is not the case; and if the artist`s invoice / purchase contract is to be used to clarify the position of the buyer and protect the future existence of the work (see Art Monthly numbers 7 and 8), this must be indicated, the details of the previously agreed sale and copies of the form given to the gallery – otherwise, delete the words in italics. The artist must discuss this agreement with the gallery in advance, inform it of the works exhibited in the exhibition so that they can be prepared, and send it at least one set of photos for the exhibited work before the exhibition dates. The gallery is responsible for collecting the collector`s money and immediately paying the artist his percentage. The exhibition sponsor does not care about the sale of works of art. The Exhibition Sponsor does not expect any commission and is not responsible for collecting payments from the Buyer, Buyer or Collector (hereinafter the “Collector”).
All purchase requests are addressed to the artist by the exhibition sponsor. The exhibition sponsor may provide potential buyers/collectors with the following information: Exhibited works may only be sold through the Gallery during the exhibition period, and the Gallery will pay commissions for all sales in the amount of __%; purchase prices less commission are to be paid to the artist in cash/by cheque when collecting all unsold works after the exhibition. Retail art salesThe percentage taken on commission by non-profit and museum spaces varies considerably. There is no common practice. Some sponsors are not interested in taking on a percentage of retail sales, or they take a reduced commission of maybe 25% to 30% of the retail price. (This can be compared to the conventional 50/50 artist/gallery arrangement). However, artists must always sell their works at the full sale price, regardless of the order received by the exhibition sponsor. There are several reasons for this. Most importantly, you want to determine the value of your work based on the full retail value of your work. Selling work below retail actually reduces the value of all your work.
Another important consideration is that a gallery can see your work in an exhibition and wants to know that you are retailing your work at any time and nationally. In the future, they may want to represent your work. Finally, if your work is available through a gallery that represents your work, they can expect to receive a percentage of all your sales (even from an exhibition they didn`t organize), depending on the nature of your “exclusive” relationship with the gallery. BULLETS BELOW for specific exhibition requirements: Announcements The exhibition sponsor sends ______ (number) ____exhibition announcements to the artist (choose from the following three options): Since non-profit organizations and museum venues are unlikely to sell the work, the artist may consider negotiating the shipment as a deciding factor as to whether to participate in the exhibition. or not and/or as an indicator of the extent to which the exhibition sponsor has included the artist`s work in the exhibition. If the Sponsor does not pay for the shipment in both directions, the Artist may ask the Sponsor to take over the return shipment as a compromise. This is indeed a common scenario: the artist pays the shipping and insurance costs for the exhibition, and the exhibition sponsor then pays for the return shipment, including insurance costs. This contract aims to offer several alternatives – listed as “OPTIONS” – that can be applied to specific (and varied) exposure situations. If you adapt this exhibition contract to each exhibition, you must remove all options, except for the only alternative that applies to the respective exhibition. This shortens the contract and reduces the possibility that the different options can cause confusion. .