Self Employed Artist, Gallery Work & Commissions
Partnerships
Artist Co-operatives
Community Arts
Self Employed Artist
- You can register as a self employed artist with HMRC (Gov.uk)
- Join organizations for opportunities and to get in the know.
- Self-exhibit you own work.
- Take commissions or list previous artwork for sale.
- Beware of scammers and bad clients.
- Adapt to a thicker skin and stay professional.
- Build a “collectors base”, grow an audience and grow and online presence (Website/Social media)
- Be authentic and distinctive
- Find the right “Art Village” for you
- Associate with people better than yourself who have more experience
- Create business cards and treat creating as a 9-5 job to make the most of your time.
- Creative Dundee have a opportunities for self-employed artists, they pay local artists to design promotional material.
- WASPS Studios Dundee has 58 studios across 3 floors housing up to 100 artists, you can apply to rent your own studio space.
- You can attempt at home shows to begin with for honest feedback of your works.
- Connect with local businesses to see if they can display your work (Cafes, restaurants, ect.)
- Collab with other artists to create a shared exhibition, save on expenses.
- Jutied/Online exhibitions, prep artwork for shipping.
- Look into artist run or commercial exhibitions.
- In a room of 100 people, you only need 20-30 of them to want to buy your work
- Charge fairly for your time and materials.
- Ensure communication between you and the client, be thorough and ask questions if need be.
- Beware of bad clients, charge a deposit.
- Advertise online, promote listings.
- Have important info easily available, such as pricing, ect.
- Establish your art style to avoid confused or disappointed clients.
- The Scottish Contemporary Art Network (SCAN) cultivates, connects and champions Scotland’s contemporary art community, they stand up for the cultural, social and economic values of contemporary art and the people that create it. They aim to bring the community together through projects, events and online resources and link in with wider conversations. Scan is non profit and consists of a small team who work alongside collaborators and freelancers, being a SCAN member provides benefits after paying a fee and lasts 1 year.
- Dalziel + Scullion are Scottish based artists who work with sculpture, photography, video and sound to make artworks that distil and interpret Nature. They strive to understand the context and the place our artwork will exist in and collaborate with conversation bodies, landowners, developers, botanists, ecologists, curators and museums.
- Generator Projects is a Dundee based artist run initiative that works with local and national artists to bring new projects to the city, they exhibit independent projects and art installations and strive to push artists onto bigger and better things, some progressing to sit on the council of the Royal Scottish Academy.
- The DCA (Dundee Contemporary Arts) works directly with artists that exhibit in their galleries to create limited edition artworks to sell and exhibit, they have their own studio and means of materials for creating.
- Sharing Not Hoarding is a public art project located in Dundee’s waterfront, it was started in 2015 as part of the Dundee Commons Festival. The project aims to encourage participation in Dundee’s waterfront development by engaging with artists and community partners to reflect on issues relevant to that development. Using 18 4-sheet billboard posters to create a vibrant dialogue of image and text, the project provides opportunities for artists and the wider public to raise critical questions about our collective future by celebrating a diversity of voices and visions for the city.
- Art Angel has been supporting people with mental health issues in their attempt to better themselves and stay well through active participation in the arts for more than 20 years, it offers a means of materials as well as a safe space to create as well as it’s own library to offer creative inspiration. They provide the opportunity to express yourself as well as meet other like-minded people.
Benefits of membership of relevant organizations and professional bodies
SSA – Society of Scottish Artists
The SSA Counsel is made up of co-Presidents, Vice president, Professional, Artist and Honorary Members who dedicate their time, skills and experience to the organisation.
Memberships;
Membership Benefits;
Exclusive benefits for Artist Student and Graduate Members;
VAS are committed as a society to support and exhibit a diverse range of contemporary Scottish art, in a variety of media, including; drawing, printmaking, textiles, photography, jewellery, ceramics and sculpture. The membership year runs from 1st Febuary-31st January, but you can join anytime.
Memberships;
Membership benefits;
The AAS is an artists led organisation which aims to raise awareness of contemporary visual arts in Aberdeen and Scotland, it provides a forum for visual artists and makers to exhibit and promote their work. For many years, the society has held its prestigious exhibitions in the Aberdeen Art Gallery and these events established Aberdeen Artists Society as a long-standing feature of the Scottish fine art scene.
Membership of the Society is open to artists resident both within and out with the Northeast of Scotland. Besides being a member of a widely recognized and independent art society, the AAS also aims to mount members only exhibitions at reduced submission rates.
Memberships;
Membership benefits;
The RSW is the only Society dedicated to promoting watercolour painting in Scotland, they pride themselves in their distinguished history and forward looking approach to encouraging watercolour painting. The RSW is an artist led, Scottish charity and have HRH Prince Charles as their royal patron. To apply, becoming a regular exhibitor and supporter of the society is a start. Regular exhibiting non-members whose works become noticed by existing members may be asked to be proposed for membership, any nomination must be supported by 2 existing RSW members and that they and the nominee all agree to the name being put forward. Nominations for memberships must be with the secretary by September 30th in the year of nomination. Candidates must then submit framed works in a watercolour or water based medium to the RSW Annual General Assembly (In either Glasgow or Edinburgh) in November, during this meeting, elections are held and candidates will receive the result of their nomination on the day of election.
RSA – Royal Scottish Academy of Art and Architecture
Artists who apply for a Scottish residency with the RSA will be assessed on the quality of visual material submitted, the coherency of their proposed project and on proving to the panel that the project will allow for major development and artistic exploration. An initial shortlist is made by the RSA panel which is then sent to each of the residency providers for a second round of selection, ensuring that the venues are involved in the selection process. The RSA panel then makes a final selection based on the funds available.
RGI – The Royal Glasgow Institute of the Fine Arts
The RGI is an independent organisation founded in 1861 to promote and encourage Scotland’s contemporary art and artists, Membership of the institute is open to all who want to support the fine arts. Artist members enjoy free submission for one work only to enter into the RGI Annual Exhibition.
Memberships;
The SSA Counsel is made up of co-Presidents, Vice president, Professional, Artist and Honorary Members who dedicate their time, skills and experience to the organisation.
Memberships;
- Artist Member - £40
- Students Member – £10
- Graduate Member - £20
- Associate Member - £20
Membership Benefits;
Exclusive benefits for Artist Student and Graduate Members;
- Free submission to the SSA annual exhibition and reduced hanging fees.
- A personal profile page on the society’s website.
- Apply to international residency opportunities, including the Engramme Artists exchange and the Eichstatt Lithography Residency.
- Exhibiting opportunities throughout the year.
- Guaranteed inclusion in the members small works display as part of the Annual Exhibition.
- Apply for Professional Membership of the Society.
- Artists Member also have the opportunity to shape the future of the Society with full voting rights, by joining our Council and being part of our Annual Exhibition Committees.
- Promotion of your art events and exhibitions to the SSAs 6000+ followers on Facebook, Twitter and Instagram.
- Contact and find support and advice from fellow artists and professionals in the SSAs Facebook group.
- Receive regular SSA newsletters.
- Invitations to exhibitions, networking opportunities and social events.
- Cass Art (Online only)
- Arthire – The Artists Frame shop
- Greyfriars Art Shop
- Henderson Art Shop
- Millers Art Shop
- Detail Framing Studio
- Copystand.co.uk
VAS are committed as a society to support and exhibit a diverse range of contemporary Scottish art, in a variety of media, including; drawing, printmaking, textiles, photography, jewellery, ceramics and sculpture. The membership year runs from 1st Febuary-31st January, but you can join anytime.
Memberships;
- Associate Membership - £20
- Ordinary Membership - £36 (£28 concession)
- Professional Membership - £50 (£38 concession)
Membership benefits;
- An online profile and portfolio.
- Reduced submission fees for the Annual Exhibition.
- Guaranteed inclusion in the members section of the Annual Exhibition.
- Participate in satellite exhibitions throughout the country.
- Promotion of your events and exhibitions to the VASs 5000+ followers on Facebook and Twitter
- Contact with and support of a community of artists.
- Awards and prizes exclusive to VAS members.
- Discounted rates on tickets to VAS events.
- 10% off your next order at Jackson’s Art Supplies.
- 10% discount at Detail Framing Studio in Tollcross.
- £5 off your next order at Great Art.
The AAS is an artists led organisation which aims to raise awareness of contemporary visual arts in Aberdeen and Scotland, it provides a forum for visual artists and makers to exhibit and promote their work. For many years, the society has held its prestigious exhibitions in the Aberdeen Art Gallery and these events established Aberdeen Artists Society as a long-standing feature of the Scottish fine art scene.
Membership of the Society is open to artists resident both within and out with the Northeast of Scotland. Besides being a member of a widely recognized and independent art society, the AAS also aims to mount members only exhibitions at reduced submission rates.
Memberships;
- Ordinary Membership - £30
- Student Membership - £15
- Honorary Membership – (Election only)
Membership benefits;
- Discounted members submission rate for shows (Including the Annual Exhibition at Aberdeen Art Gallery)
- A reduction in commission on sale of works from an AAS exhibition
- 10% discount on works purchased from an AAS exhibition
The RSW is the only Society dedicated to promoting watercolour painting in Scotland, they pride themselves in their distinguished history and forward looking approach to encouraging watercolour painting. The RSW is an artist led, Scottish charity and have HRH Prince Charles as their royal patron. To apply, becoming a regular exhibitor and supporter of the society is a start. Regular exhibiting non-members whose works become noticed by existing members may be asked to be proposed for membership, any nomination must be supported by 2 existing RSW members and that they and the nominee all agree to the name being put forward. Nominations for memberships must be with the secretary by September 30th in the year of nomination. Candidates must then submit framed works in a watercolour or water based medium to the RSW Annual General Assembly (In either Glasgow or Edinburgh) in November, during this meeting, elections are held and candidates will receive the result of their nomination on the day of election.
RSA – Royal Scottish Academy of Art and Architecture
Artists who apply for a Scottish residency with the RSA will be assessed on the quality of visual material submitted, the coherency of their proposed project and on proving to the panel that the project will allow for major development and artistic exploration. An initial shortlist is made by the RSA panel which is then sent to each of the residency providers for a second round of selection, ensuring that the venues are involved in the selection process. The RSA panel then makes a final selection based on the funds available.
RGI – The Royal Glasgow Institute of the Fine Arts
The RGI is an independent organisation founded in 1861 to promote and encourage Scotland’s contemporary art and artists, Membership of the institute is open to all who want to support the fine arts. Artist members enjoy free submission for one work only to enter into the RGI Annual Exhibition.
Memberships;
- Full Membership - £60
- Young Membership - £20 (For under 25s, Students and recent graduates within 2 years)
- Attend all events at the RGI gallery for free or at a discounted rate.
- News via email mailing list
- 2 works per year on the RGI online shop (1 works every 6 months)
- Submit to the Open Calls (2 per year)
- 10% discount at Paint & Mortar, Bourdon Building, GSA
- 10% discount at Merchant City Print, High Street, Glasgow
- 10% discount at Display Framers
Types of Contracts
Contracts used by artists in different circumstances;
Contract Basics:
Before getting involved in work of any type, it is advised you ask for a contract stating your rights and what you can expect t get from your employer. Without a contract, you risk not being paid, losing your artwork(s), being unable to prove what you have sold or given away or losing personal funds. If the agreement is complex, you are strongly advised to seek professional legal assistance in the country you will be working in. Verbal contracts are as biding as written contracts, but have the disadvantage of being legally unprovable. Artists should use written contracts as often as needed, whether it is a commission, sale or exchange of their skill and expertise.
- Selling Directly
- Gifting Artwork
- Selling editions and series
- Authenticity Certificates
- Artist Residencies
Contract Basics:
Before getting involved in work of any type, it is advised you ask for a contract stating your rights and what you can expect t get from your employer. Without a contract, you risk not being paid, losing your artwork(s), being unable to prove what you have sold or given away or losing personal funds. If the agreement is complex, you are strongly advised to seek professional legal assistance in the country you will be working in. Verbal contracts are as biding as written contracts, but have the disadvantage of being legally unprovable. Artists should use written contracts as often as needed, whether it is a commission, sale or exchange of their skill and expertise.
Public Relations
Public relations is essentially a process of managing your organizations relationship with the public and its stakeholders, funders, existing customers, suppliers or potential new customers or clientele. It also supports the success of marketing and publicity campaigns.
Similarly, Media relations is the process of managing your organizations relationship with the media, such as the newspapers, radio, television, social media, ect, to create a positive understanding of the role you play as well as the work you create to further promote it as the media communicates with the public daily, having valuable benefits as well as free coverage. Media coverage can help to develop the awareness of you and your role as well as publicise events, expeditions, reviews, ect.
Further expanding on Public Relations, it’s relationship with the art world never used to be this interlinked. Many Professional Artists these days will look to the helping hand and advise of a Public Relations professional before launching an exhibition as it’s become something of a great support Artists can use to create and enhance buzz around their works. In a world of twenty-four hour news, the general public is always curious to discover new things each day and more people now have multiple devices to view news on such as smartphones, laptops, televisions, consoles, apps, and more and most are able to access the latest things happening in the world with the click of a finger. I personally have also found that there are many online artists communities, either with their own platforms or on social media pages as I myself run my own personal one to update people on recent work or commission information. You can utilize public relations to also promote new projects, exhibitions, awards, studio life, collaborations, and so on. Something that’s also important is your strategy, knowing who your audience is, developing your meaning/brand, as well as growing an understanding how to connect with your audience is key to a successful public relations strategy.
Additional ways Public Relations can help promote art:
Similarly, Media relations is the process of managing your organizations relationship with the media, such as the newspapers, radio, television, social media, ect, to create a positive understanding of the role you play as well as the work you create to further promote it as the media communicates with the public daily, having valuable benefits as well as free coverage. Media coverage can help to develop the awareness of you and your role as well as publicise events, expeditions, reviews, ect.
Further expanding on Public Relations, it’s relationship with the art world never used to be this interlinked. Many Professional Artists these days will look to the helping hand and advise of a Public Relations professional before launching an exhibition as it’s become something of a great support Artists can use to create and enhance buzz around their works. In a world of twenty-four hour news, the general public is always curious to discover new things each day and more people now have multiple devices to view news on such as smartphones, laptops, televisions, consoles, apps, and more and most are able to access the latest things happening in the world with the click of a finger. I personally have also found that there are many online artists communities, either with their own platforms or on social media pages as I myself run my own personal one to update people on recent work or commission information. You can utilize public relations to also promote new projects, exhibitions, awards, studio life, collaborations, and so on. Something that’s also important is your strategy, knowing who your audience is, developing your meaning/brand, as well as growing an understanding how to connect with your audience is key to a successful public relations strategy.
Additional ways Public Relations can help promote art:
- Connecting your work with a wider media reach and target audiences.
- Communicating your art and its meaning with specific art journalists.
- Targeted social media management and engagement by growing an audience online.
- Developing and enhancing relationships with collectors, curators, buyers, critics, appreciators and other endorsers/supporters.
- Event management and collaborations.
Funding, Pension & Finance
Funding
Artists can finds sources of funding by gaining art prizes in competitions, artist residencies, awards or grants. The best starting point is the Cultural Enterprise Office for Creative Funding, who have several funding routes;
Open Fund: Sustaining creating development for individuals and organisations
Pensions
There can be a variety of different pension schemes for self-employed people/artists, but they fall into two main categories; Defined Benefits and Defined Contributions.
The costs of each type of scheme may vary, with some charges on different schemes higher than others. The most relevant investment for an artist is commercial property and ground rents, excluding any assets relating to the residential property. The SIPP fund can buy commercial property to be used by the artist, and the rental income from the property will be exempt from tax.
As a UK Artist, being self-employed, usually pays two types of National Insurance contributions. Most people pay mandatory Class 2 and Class 4 National Insurance through the self-assessment tax system.
Finance
Artists typically don’t receive a steady pay check and financial emergency can often strike, it is vital for artists to understand their income, debt, taxes and savings. The following are tips to help keep financial stability;
Artists can finds sources of funding by gaining art prizes in competitions, artist residencies, awards or grants. The best starting point is the Cultural Enterprise Office for Creative Funding, who have several funding routes;
Open Fund: Sustaining creating development for individuals and organisations
- Funding available for between £1K and £50K
- The fund aims to enable individuals and organisations to explore ways of working that will help them to adapt and respond to the current changing circumstances
- The overall budget for the Open Fund for Individuals and the Open Fund for Organisations totals £7.5M of National Lottery money
- The Open Fund for Organisations will not be in competition for funding applications for individuals
- The fund is open all year round, with no deadlines and can support activity for up to 12 months
- Regular Funding provides stable support for a range of organisations and consortia across Scotland who make an important contribution to the development of the arts, screen and creative industries, enabling them to plan and deliver activities over a three year period.
- The Regular Funding Network consists of 212 organisations, 19 of which are new, and 102 continue with three year funding supported by a £101.6M grant in aid funding through a three year commitment from the Scottish Government
- Within this will be a number of funds, sometimes called “devolved funds”, which are delivered by partner organisations on behalf of Creative Scotland.
- Targeted funds are a series of funds which support specific activities and development needs in an art form, specialism or place.
- Examples include funds allocated by the Scottish Government for specific purposes, such as the Youth Music Initiative, and UK National Lottery funds such as support for screen.
Pensions
There can be a variety of different pension schemes for self-employed people/artists, but they fall into two main categories; Defined Benefits and Defined Contributions.
- Defined Benefit schemes typically provide pensions based on how long a member has been employed by the pension scheme and their final salary, their pension entitlement does not depend directly on the size of their contributions into the scheme. Most defined benefit schemes have either been wound up or closed to new members.
- Defined Contributions, also known as Money Purchase Schemes, directly rely on the amounts paid into each individuals pension funds and the investment performance of the pension administrator.
The costs of each type of scheme may vary, with some charges on different schemes higher than others. The most relevant investment for an artist is commercial property and ground rents, excluding any assets relating to the residential property. The SIPP fund can buy commercial property to be used by the artist, and the rental income from the property will be exempt from tax.
As a UK Artist, being self-employed, usually pays two types of National Insurance contributions. Most people pay mandatory Class 2 and Class 4 National Insurance through the self-assessment tax system.
- Class 2 - If profits are £6,475 or more per year.
- Class 4 - If profits are £9,501 or more per year.
Finance
Artists typically don’t receive a steady pay check and financial emergency can often strike, it is vital for artists to understand their income, debt, taxes and savings. The following are tips to help keep financial stability;
- Always balance accounts and keep track of receipts, look over finances before the end of the year.
- Make adjustments to your budget when needed
- Save income when you can, or by tax deductible items for your business
- Plan ahead, figure out how much goes towards your art career and how much you spend on other items.
- Creating and following a career based budget, this should include expenses, proposals, materials, ect
- Project or Exhibition budgets, this can prove helpful ahead of time.
- Develop long range plans like a retirement, bonds or savings plan.
- Live on less, think twice about how you spend money. It is recommended for artists to put away three years’ worth of income away into savings in case of emergency, while the average person only has to save between 8 - 12 months’ worth.
- Credit Cards can be useful, however dangerous if not careful.
- If in need of an accountant, be sure to find someone that has an understanding of the arts. Many artists have gotten into trouble with the IRS, or miss benefits of tax deductions, because they are hiring an accountant who is not knowledgeable on artist laws, ect. Fees for accounting services can be deducted from taxes the following year.
- Pay on a quarterly basis, one third of artists income will go into taxes. Additionally, you may need to pay Social Security which is 15% of your earnings, if self-employed, you have to pay this yourself.
- Consider Insurance.
- Consider investing in a project, business or real-estate if able.
- Develop good financial habits and set goals.
- Begin an Art Business SWOT (Strength, Weaknesses Opportunities & Threats) Analysis, a technique to discover new opportunities and eliminate potential threats.
- A periodic inventory of your art business helps track the status of your finances.
- Consider hiring someone to support or promote your art business.
Health & Safety Responsibilities
For a safe workspace, you must;
Some substances can cause asthma or other diseases, including cancer. Many can damage skin and cause serious long-term damage to your lungs, or body in general. The effect can be immediate, such as dizziness or stinging eyes. In other cases, it can take many years to develop, (such as lung disease) and many of the long-term or chronic effects cannot be cured once they develop.
To avoid situations like these, the law requires you to adequately control exposure to materials in the workplace that can cause ill health, this is COSHH (The Control of Substances Hazardous to Health Regulations) and means;
A COSHH assessment concentrates on the hazards on risks from hazardous substances in your workplace, health hazards are not limited to substances labelled as “Hazardous”, some harmful substances can be produced by the process you use (eg, wood dust from sanding, silica dust from tile cutting). To carry out a COSHH risk assessment, you need to identify the hazards;
- Ensure your workspace is in good repair.
- Maintain your workplace and any equipment that inhabits it so it’s safe and works efficiently.
- Correct any dangerous defects immediately, or take the necessary steps to protect anyone or yourself if at risk.
- Take precautions to prevent yourself, others or materials from falling form open edges (eg; fencing or guard rails).
- Fence or cover floor openings if necessary.
- Have enough space for safe movement and access, keep things accessible and tidy.
- Make sure floors are clear of any obstacles (eg, wires, clutter, hazardous objects).
- Provide good drainage in any wet processes.
- Ensure windows can be opened, closed or adjusted safely.
- Too much is inhaled by breathing.
- Absorbed through the skin.
- Swallowed.
- Acting directly on the body at point of contact (eg, skin).
Some substances can cause asthma or other diseases, including cancer. Many can damage skin and cause serious long-term damage to your lungs, or body in general. The effect can be immediate, such as dizziness or stinging eyes. In other cases, it can take many years to develop, (such as lung disease) and many of the long-term or chronic effects cannot be cured once they develop.
To avoid situations like these, the law requires you to adequately control exposure to materials in the workplace that can cause ill health, this is COSHH (The Control of Substances Hazardous to Health Regulations) and means;
- Identifying which harmful substances may be present in your workspace.
- Deciding how you or others may be exposed and be harmed by them.
- Looking at what measures you have in place to prevent this harm and deciding whether you are doing enough.
- Providing information, instruction and training.
- In appropriate cases, providing health surveillance.
A COSHH assessment concentrates on the hazards on risks from hazardous substances in your workplace, health hazards are not limited to substances labelled as “Hazardous”, some harmful substances can be produced by the process you use (eg, wood dust from sanding, silica dust from tile cutting). To carry out a COSHH risk assessment, you need to identify the hazards;
- Identify which substances are harmful by reading the product labels and safety data sheets (SDS).
- If you are in doubt, contact your supplier.
- Think about harmful substances produced by your process, such as cutting or grinding.
- Decide who might be harmed and how if applicable, think of how other people can possibly be exposed or put at risk.
- Evaluate the risks and decide on precautions, think about preventing exposure. Do you really need to use a particular substance or is there a safer alternative? Can you change the process to eliminate its use or avoid producing it? If this is not possible, you must put in controlled measures to reduce exposure.
- AVOID direct contact between unprotected hands and substances, products and wet work where is sensible and practical.
- PROTECT the skin. Avoiding contact will not always be possible, so wash any contamination from skin promptly. Try and use soft or disposable towels for drying skin and protect it by moisturising at the end of the day to replace the natural oils that keep your skins protective barrier working properly.
- CHECK hands regularly for signs of itchy, dry or red skin. When skin problems are found early, they can be treated.
- Eyes
- Head and Neck
- Ears
- Hands and Arms
- Feet and Legs
- Lungs
- Whole Body
- You can be struck and injured by moving parts of machinery or ejected material, parts of the body can be drawn in or trapped between rollers, belts and pulley drives.
- Sharp edges can cause cuts and severing injuries, sharp pointed parts can cause stabbing or puncture the skin, rough surface parts can cause friction or abrasion.
- You can be crushed, both between parts moving together or towards a fixed part of the machine, wall or other object, two parts moving past one another can cause shearing.
- Parts of the machine, materials and emissions can be hot or cold enough to cause burns or scalds, electricity can cause electrical shock and burns.
- Injuries can occur due to machinery becoming unreliable, developing faults or when they are used improperly through inexperience or lack of training.
- Check that the machine is complete with all safeguards fitted and free from defects.
- Produce a safe system of work for using and maintaining the machine, look at the residual risks identified by the manufacturer in the information provided with the machine and make sure they are included in the safe system of work.
- Ensure every static machine has been installed properly and is stable, usually fixed down.
- Choose the right machine for the job and do not put machines where customers or visitors may be exposed.
- New machines should be CE marked and supplied with a Declaration of Conformity and instructions in English.
- Make sure the machine is safe for any work that has to be done when setting up, during normal use, carrying out repairs for breakdowns and during planned maintenance.
- Identify the risks from electrical, hydraulic or pneumatic power supplies.
- Preventing access to dangerous parts and identifying the risks from badly designed safeguards that can be overridden.
Ethical Aspects of Art and Design Practice & Copyright
The College Art Association (CAA) adopted a set of Professional Practices for Artists in 1977. These guidelines that were put in place were intended to advance the interests of Artists by providing general ethical and professional best practices as well as providing a pedagogical role.
The guidelines are organized into six sections:
Due to the vast range of Artists’ approaches and practices, a universal code of ethical conduct for artists, while useful, can also be problematic. While art may support or affirm conventional behaviors and community standards, artists highly value their ability to challenge, criticize, and transgress those standards. Key elements in the professional codes for many disciplines include; Honestly, integrity in business dealings, civility, obeying laws and regulations, disclosure of conflicts of interest, truth in labeling, individual accountability for professional acts (“Do no harm”), as well as the articulation and communication of personal and professional judgments. While applicable in many contexts, these elements potentially limit legitimate artistic expression and should not be enshrined in University applicable, CAA-Sanctioned Artist Code of Ethics.
Nevertheless, the professional and academic communities expect artists to honor contracts into which they voluntarily enter, to also be aware of the time-specific expectations and deadlines as well as to understand the financial terms and along with the other stated expectations. Work created by Artists for the Marketplace should be the distinctive result of their own personal creative efforts, though other collaborators might have contributed to the physical production of the work produced. Artists must always be mindful of their work and disclose any physical dangers if applicable, to the viewers. Artists must be ethically free to ignore limits established by legal authorities, but should not expect immunity from sanctions resulting from their choices and also must be responsible and accountable for their actions as they pursue their efforts to continue making creations manifesting their humanity.
Recommendations on the safe use of materials and equipment
CAA have stated that they believe that Artists should educate themselves on the safe use of materials and equipment as well as vigilantly promote said practices to their Assistants, Students and any other audiences.
Some art materials as well as some equipment can pose as a great chemical, kinetic or radiation danger and can threaten the health of Artists and those who live and work in Artist environments. Artists can avoid, or at least greatly minimize, these threats with education as well as careful management around their work environment. Artists are responsible for their own health, but also the safety and wellbeing of all others around them and their environment.
Another hazard is chemically related, certain chemicals used in certain practices can enter the body through the lungs, skin or digestive track. These hazards include; Solvents, Dust, Acids, Sprayed Materials, Fumes, ect. Additionally, Kinetic hazards are repetitive motions that can stress the body, from either extended sessions of hammering, for example, for a long period of time or using a computer for a long period of time. Other forms of computer technology also present radiation hazards, Artists should also protect their hearing from loud tools, machinery or processes.
The level of toxicity, length of exposure, age of the Artists or their general health can all affect how any individual may react to any health hazard. Immediate and severe hazards are usually quickly identified, more insidious is the long term exposure to lower levels of dust, noise and certain solvents or chemicals which may produce symptoms of mild but chronic headaches, dizziness, fatigue, nausea, coughing, hearing loss, organ dysfunction or skin irritation.
Professional Studios or educational institutions should ensure that it’s teachers, staff, workers and Students are afforded the same protection from exposure to hazardous materials, chemicals and work conditions as its granted to other employees employed in the place of institution. At a minimum, Institutions must be compliant with Federal and State Guidelines as well as other applicable laws in place.
CAA recommends that Artists learn the potential hazards of all materials and processes they use as well as be mindful of the Occupational Safety and Health Administration (OSHA) labels and Material Safety Data Sheets (MSDS) for any supplied used to produce works of art.
Lastly, Artists should incorporate sustainable practices into all art production and education, sustainability goes beyond the health of the participant to include supporting the health of the planet we reside on. Artists as well as Educators should be aware of issues of energy input, environmental burden, carbon footprint as well as life cycle analysis related to the materials and processes in the production, use and disposal of materials incorporated in their works. CAA has recommended that the art world make a continuing effort to minimize its contribution to the issues of pollution and waste and using sustainable practices whenever possible. Increased recycling, lowered volatile organic compound (VOC) production, local and regional sourcing of materials and reduced use of petroleum based materials are all starting points.
Recommended use of Copyright Notice
Copyright is a set of rights put in place, granted by the law of a jurisdiction, to the author or creator of an original work they created themselves. This includes the right to copy, distribute and adapt the work and provides legal protection for the owners of the intellectual property to display or preform their work, reproduce their work, make copies of it and create varieties of the work. Ideas cannot be copyrighted.
The CAA believes that Artists should obtain stronger copyright protection for their works and avoid infringing on the copy right of others. Artists own the copyright to their work as they create it and when finished, even if they do not register the work or place the copyright symbol (©) on the work. If Artists register their works with the Copyright Office, they are further protected and have established a record of their copyright. CAA has recommended that Artists learn the basics of Copyright Law, Registration procedures, transfer of copyright as well as the definition of publishing as defined by the Copyright Office.
Artists involved in collaborative works of art should create and draft an agreement regarding copyright to protect all parties involved, this document can be general or exact if necessary or requested by a party member to clarify each participants role in the project or artwork created.
The CAA has encouraged Artists who use the intellectual property of others in their own works to learn the basics of fair use and parody, additionally, the CAA recommends that Artists avoid infringing on the rights of others while also recognizing that other Artists look for bigger access to and use of their own creative production outside the conventions of copyright protection.
Employment of Studio Assistants
Some Artists can employ Assistants for their Studio workplaces to aid them with work, Studio Assistants should have safe and healthy working environments and conditions as well as be instructed in professional use of equipment and potential hazards in the Studio.
If Assistants directly help Artists produce their work, Artists should consider establishing confidentiality clauses and explicit terms of authorship. Similar, a contract between an Artist and an independent contractor is essential when involved with large and more complex projects, like hiring a Structural Engineer or an Architect for example.
Contracts consisting between Artists and Workers must address specific such as the final product, timeframe, deadlines, costs, payments, insurance, warranties, ect and the CAA has recommended having a lawyer review important contracts such as these. For projects that are more short term, a studio assistant can be hired on an intern basis for their specific expertise. Both Artist and Assistant must agree on job specifics via signed contract or verbal agreement, including services to be rendered, work schedule, flat fee or hourly/weekly wadge, payment plan and where the work will be done. Artists should compensate Assistants compliant with their terms of employment and any laws specific to their state. Additionally, Artists should also consult an insurance agent regarding coverage relating to independent contractors working in the studio space. It is important to consult an Accountant during the process of hiring Studio assistance, and it is not uncommon for successful Artists to hire Assistants as employees with full benefits and health insurance. When appropriate, Artists should acknowledge Assistants who had a direct hand in studio laboring.
Exhibition and sale of artwork
Artists should receive a written loan or consignment agreement from any gallery or institution that exhibits their work, in cases when the Artists sells work independently, the Artists should keep written records of all sales. For legal advice or sample agreements, Artists should consult their local state Volunteer Lawyers for the Arts or a similar organization.
Contracts for Public and Private Art Commission
Art Dealers are often referred to as “Personal Representatives”, they are generally established Art Agents who enters into long term relationships with the Artist and looks to advance the Artists career through exhibitions and publicity. The Dealer brings the Artists work to the attention of Critics and Curators and looks to place it in important private and museum collections and develop a secondary market.
Artists may showcase their work in other situations, in some cases, a Dealer or Curator makes an arrangement with an Artist for a single exhibition or for a short amount of time. In other cases, a Dealer without a physical gallery space can represent an Artist without the promise of an exhibition.
The guidelines are organized into six sections:
- Artist Code of Ethics
- Recommendations on the safe use of materials and equipment
- Recommended use of Copyright Notice
- Employment of Studio Assistants
- Exhibition and Sale of Artwork
- Contracts for Public and Private Art Commission
Due to the vast range of Artists’ approaches and practices, a universal code of ethical conduct for artists, while useful, can also be problematic. While art may support or affirm conventional behaviors and community standards, artists highly value their ability to challenge, criticize, and transgress those standards. Key elements in the professional codes for many disciplines include; Honestly, integrity in business dealings, civility, obeying laws and regulations, disclosure of conflicts of interest, truth in labeling, individual accountability for professional acts (“Do no harm”), as well as the articulation and communication of personal and professional judgments. While applicable in many contexts, these elements potentially limit legitimate artistic expression and should not be enshrined in University applicable, CAA-Sanctioned Artist Code of Ethics.
Nevertheless, the professional and academic communities expect artists to honor contracts into which they voluntarily enter, to also be aware of the time-specific expectations and deadlines as well as to understand the financial terms and along with the other stated expectations. Work created by Artists for the Marketplace should be the distinctive result of their own personal creative efforts, though other collaborators might have contributed to the physical production of the work produced. Artists must always be mindful of their work and disclose any physical dangers if applicable, to the viewers. Artists must be ethically free to ignore limits established by legal authorities, but should not expect immunity from sanctions resulting from their choices and also must be responsible and accountable for their actions as they pursue their efforts to continue making creations manifesting their humanity.
Recommendations on the safe use of materials and equipment
CAA have stated that they believe that Artists should educate themselves on the safe use of materials and equipment as well as vigilantly promote said practices to their Assistants, Students and any other audiences.
Some art materials as well as some equipment can pose as a great chemical, kinetic or radiation danger and can threaten the health of Artists and those who live and work in Artist environments. Artists can avoid, or at least greatly minimize, these threats with education as well as careful management around their work environment. Artists are responsible for their own health, but also the safety and wellbeing of all others around them and their environment.
Another hazard is chemically related, certain chemicals used in certain practices can enter the body through the lungs, skin or digestive track. These hazards include; Solvents, Dust, Acids, Sprayed Materials, Fumes, ect. Additionally, Kinetic hazards are repetitive motions that can stress the body, from either extended sessions of hammering, for example, for a long period of time or using a computer for a long period of time. Other forms of computer technology also present radiation hazards, Artists should also protect their hearing from loud tools, machinery or processes.
The level of toxicity, length of exposure, age of the Artists or their general health can all affect how any individual may react to any health hazard. Immediate and severe hazards are usually quickly identified, more insidious is the long term exposure to lower levels of dust, noise and certain solvents or chemicals which may produce symptoms of mild but chronic headaches, dizziness, fatigue, nausea, coughing, hearing loss, organ dysfunction or skin irritation.
Professional Studios or educational institutions should ensure that it’s teachers, staff, workers and Students are afforded the same protection from exposure to hazardous materials, chemicals and work conditions as its granted to other employees employed in the place of institution. At a minimum, Institutions must be compliant with Federal and State Guidelines as well as other applicable laws in place.
CAA recommends that Artists learn the potential hazards of all materials and processes they use as well as be mindful of the Occupational Safety and Health Administration (OSHA) labels and Material Safety Data Sheets (MSDS) for any supplied used to produce works of art.
Lastly, Artists should incorporate sustainable practices into all art production and education, sustainability goes beyond the health of the participant to include supporting the health of the planet we reside on. Artists as well as Educators should be aware of issues of energy input, environmental burden, carbon footprint as well as life cycle analysis related to the materials and processes in the production, use and disposal of materials incorporated in their works. CAA has recommended that the art world make a continuing effort to minimize its contribution to the issues of pollution and waste and using sustainable practices whenever possible. Increased recycling, lowered volatile organic compound (VOC) production, local and regional sourcing of materials and reduced use of petroleum based materials are all starting points.
Recommended use of Copyright Notice
Copyright is a set of rights put in place, granted by the law of a jurisdiction, to the author or creator of an original work they created themselves. This includes the right to copy, distribute and adapt the work and provides legal protection for the owners of the intellectual property to display or preform their work, reproduce their work, make copies of it and create varieties of the work. Ideas cannot be copyrighted.
The CAA believes that Artists should obtain stronger copyright protection for their works and avoid infringing on the copy right of others. Artists own the copyright to their work as they create it and when finished, even if they do not register the work or place the copyright symbol (©) on the work. If Artists register their works with the Copyright Office, they are further protected and have established a record of their copyright. CAA has recommended that Artists learn the basics of Copyright Law, Registration procedures, transfer of copyright as well as the definition of publishing as defined by the Copyright Office.
Artists involved in collaborative works of art should create and draft an agreement regarding copyright to protect all parties involved, this document can be general or exact if necessary or requested by a party member to clarify each participants role in the project or artwork created.
The CAA has encouraged Artists who use the intellectual property of others in their own works to learn the basics of fair use and parody, additionally, the CAA recommends that Artists avoid infringing on the rights of others while also recognizing that other Artists look for bigger access to and use of their own creative production outside the conventions of copyright protection.
Employment of Studio Assistants
Some Artists can employ Assistants for their Studio workplaces to aid them with work, Studio Assistants should have safe and healthy working environments and conditions as well as be instructed in professional use of equipment and potential hazards in the Studio.
If Assistants directly help Artists produce their work, Artists should consider establishing confidentiality clauses and explicit terms of authorship. Similar, a contract between an Artist and an independent contractor is essential when involved with large and more complex projects, like hiring a Structural Engineer or an Architect for example.
Contracts consisting between Artists and Workers must address specific such as the final product, timeframe, deadlines, costs, payments, insurance, warranties, ect and the CAA has recommended having a lawyer review important contracts such as these. For projects that are more short term, a studio assistant can be hired on an intern basis for their specific expertise. Both Artist and Assistant must agree on job specifics via signed contract or verbal agreement, including services to be rendered, work schedule, flat fee or hourly/weekly wadge, payment plan and where the work will be done. Artists should compensate Assistants compliant with their terms of employment and any laws specific to their state. Additionally, Artists should also consult an insurance agent regarding coverage relating to independent contractors working in the studio space. It is important to consult an Accountant during the process of hiring Studio assistance, and it is not uncommon for successful Artists to hire Assistants as employees with full benefits and health insurance. When appropriate, Artists should acknowledge Assistants who had a direct hand in studio laboring.
Exhibition and sale of artwork
Artists should receive a written loan or consignment agreement from any gallery or institution that exhibits their work, in cases when the Artists sells work independently, the Artists should keep written records of all sales. For legal advice or sample agreements, Artists should consult their local state Volunteer Lawyers for the Arts or a similar organization.
Contracts for Public and Private Art Commission
Art Dealers are often referred to as “Personal Representatives”, they are generally established Art Agents who enters into long term relationships with the Artist and looks to advance the Artists career through exhibitions and publicity. The Dealer brings the Artists work to the attention of Critics and Curators and looks to place it in important private and museum collections and develop a secondary market.
Artists may showcase their work in other situations, in some cases, a Dealer or Curator makes an arrangement with an Artist for a single exhibition or for a short amount of time. In other cases, a Dealer without a physical gallery space can represent an Artist without the promise of an exhibition.
Helpful website links to find out more...
https://www.collegeart.org/standards-and-guidelines/guidelines/practices
https://creativedundee.com/
https://www.waspsstudios.org.uk/spaces/artist-space/meadow-mill-studios/
https://www.generatorprojects.co.uk/about
https://www.dca.org.uk/
https://sca-net.org/
https://dalzielscullion.com/
http://dev.sharingnothoarding.org/koken/index.php?/pages/about-sharing-not-hoarding/
https://artangeldundee.org.uk/art.html
https://dundeeurbanorchard.net/
https://www.artistsunion.scot/about
https://www.artquest.org.uk/artlaw-category/contracts/artist-contracts/
https://www.creativescotland.com/
https://www.creativescotland.com/funding/funding-overview
https://www.creativescotland.com/funding
https://www.artquest.org.uk/how-to-articles/pensions-for-self-employed-people/
https://www.artbusinessinfo.com/retirement-and-pensions-for-artists.html
https://www.a-n.co.uk/resource/pensions-for-artists/
https://www.gyst-ink.com/finances
https://www.curzonpr.com/theprinsider/art-needs-pr-artists-public-relations-fine-art/
https://fineartviews.com/blog/121303/social-media-marketing-for-artists
https://www.contrado.co.uk/blog/social-media-marketing-for-artists/
https://www.culturehive.co.uk/resources/public-relations-and-the-media-an-introduction-for-arts-and-cultural-marketers/
https://www.s-s-a.org/
https://www.visualartsscotland.org/
https://aberdeenartistssociety.co.uk/
https://www.rsw.org.uk/
https://www.royalscottishacademy.org/
https://www.theroyalglasgowinstituteofthefinearts.co.uk/
https://www.gov.uk/copyright
https://creativedundee.com/
https://www.waspsstudios.org.uk/spaces/artist-space/meadow-mill-studios/
https://www.generatorprojects.co.uk/about
https://www.dca.org.uk/
https://sca-net.org/
https://dalzielscullion.com/
http://dev.sharingnothoarding.org/koken/index.php?/pages/about-sharing-not-hoarding/
https://artangeldundee.org.uk/art.html
https://dundeeurbanorchard.net/
https://www.artistsunion.scot/about
https://www.artquest.org.uk/artlaw-category/contracts/artist-contracts/
https://www.creativescotland.com/
https://www.creativescotland.com/funding/funding-overview
https://www.creativescotland.com/funding
https://www.artquest.org.uk/how-to-articles/pensions-for-self-employed-people/
https://www.artbusinessinfo.com/retirement-and-pensions-for-artists.html
https://www.a-n.co.uk/resource/pensions-for-artists/
https://www.gyst-ink.com/finances
https://www.curzonpr.com/theprinsider/art-needs-pr-artists-public-relations-fine-art/
https://fineartviews.com/blog/121303/social-media-marketing-for-artists
https://www.contrado.co.uk/blog/social-media-marketing-for-artists/
https://www.culturehive.co.uk/resources/public-relations-and-the-media-an-introduction-for-arts-and-cultural-marketers/
https://www.s-s-a.org/
https://www.visualartsscotland.org/
https://aberdeenartistssociety.co.uk/
https://www.rsw.org.uk/
https://www.royalscottishacademy.org/
https://www.theroyalglasgowinstituteofthefinearts.co.uk/
https://www.gov.uk/copyright