TIP
/ FIND OF THE
WEEK: Your Statement
One of my favorite things
on the new website is an example of how I have worked with an artist to
help create her statement. You can see how the process of an artist
statement unfolded at http://www.artbizcoach.com/classes/stmtex-1.shtml
Bonus tip for Mac users:
Elsie Kilguss responded to last week’s tip for typing the copyright
symbol on your PC. She said if you have a Mac, hold down the option key
and type “g”.
Note: See the menu in the upper left of this page
to view popular topics from past issues.
ARTISTS
RESPOND
In response to last week’s
newsletter about documenting your artwork, I received this from Harriet
Estel Berman (http://www.harriet-estel-berman.info):
“I agree with you
completely about the responsibility of artists documenting the
exhibition record of each work. I have a very low tech way. I have an
index card for each piece. When it is committed to a show it is ‘penciled’
in. After the show it is written in ink.
Nicole A. Hansen,
Bowl. Sterling Silver,
reticulated lid, base made of 80/20 silver.
3" diameter. ©The Artist |
This idea of recording
the exhibition record of your work goes even further. Artists should
keep a record of all one-of-a-kind work (over $500). This includes the
complete name, street address and telephone numbers of their collectors.
This policy should be for any work purchased at an auction, too.
Galleries may not like
this idea, but artists should insist on this arrangement [to be given a
record of the purchasers] with their gallery. It should be written into
the contract. What if the gallery goes out of business?! What if the
gallery loses their records or does not keep adequate records for every
purchase?!
The Professional
Guidelines Model Consignment Contract makes a specific recommendation in
their contract. Find the Model Consignment Contract at http://www.snagmetalsmith.org/infocentral/professionalguidelines.asp
Here is the explanation
for CLAUSE 6 in the contract:
ACCOUNTING. It is sound business
practice for both the artist and the gallery to compare the List of
Inventory regularly. Remember, work on consignment is owned by the
artist. The investment of time, materials and overhead makes it just
as much the artist’s responsibility as the gallery’s to account
for inventory.
Keeping good records for one-of-a-kind
artwork can be very important for the artist. Curators or museums
working on exhibitions or retrospectives may want to borrow work from
a gallery or work owned by collectors. Such exhibitions become part of
the works provenance, and may increase the value of the artwork. Thus,
artists should keep accurate records for the location of their
work.
The Professional Guidelines Committee
recommends that galleries provide artists with the names and addresses
of all collectors of their one-of-a-kind work.
CLAUSE 6 FROM THE CONTRACT STATES:
6. Accounting.
Accounting for one-of-a-kind Artwork. For one-of-a-kind artwork with a
retail price of $500 or more, the gallery will furnish the name,
mailing address, and telephone number of the client / collector who
purchases the artwork. Artist agrees not to contact the client for the
purpose of selling artwork directly to the client and the gallery will
be informed or receive a copy of any communication between artist and
client that relates to this artwork as long as the contract remains in
effect.
It is very important for artists to
respect appropriate boundaries and not contact collectors attempting to
circumnavigate around the gallery to sell work. The will damage your
working relationship with your gallery.”
|
to get help and support with your business on a month-to-month basis. It’s
also a great opportunity to meet other artists who share your goals and
struggles. These are small groups and will be filled on a first-come,
first-served basis. Details at 