Exclusivity: If the agreement grants exclusivity to the gallery, it means that the artist may be prevented from independently selling works of art or from entering into a contract with another gallery. In addition, in some cases, the gallery may be granted the right of first refusal for new works of art created during a certain period. 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. Insurance: Will the gallery insure the work during the shipment? And if so, what is covered, for how long and at what value? One. The curator of the organizer has (partially) written an essay for the publication of the book, which (extended to the use of the exhibitor, at a time requested by the exhibitor during a complete scientific test on the exhibition) is intended for the publication of brochures by the exhibitor and for non-exclusive fair use in the form of extracts for the exhibitor`s advertising brochures, blackboard texts and media supports. If the exhibitor decides to use the full scientific essay for the exhibitor`s catalog (which can be in the form of a book), the exhibitor must use this complete text for the catalog and/or book to accompany the exhibition visit. The essay for the use of the transmitter will contain no less than 10,000 words and no more than 150,000 words, depending on the publishing budget. The catalogue that will be published as part of the exhibition will indicate at least ___ color images and no less than ___ black and white images of works. The original essay by the curator of the organizer or the newly sized essay will be used unchanged in connection with the exhibition catalogue, with the exception of fair use quotes in relation to advertising brochures, blackboard texts and media documents. D.

If the exhibitor is a subsequent exhibitor of the first exhibitor, but not the last exhibitor on the exhibition tour, the exhibitor agrees to pay the transportation costs, including but not limited to packaging and shipping as well as the organizer`s courier fees to the premises of the next exhibitor. In addition to its legal services, Arts Law also has a searchable bank of standard contracts offered for sale on its website. In order to further support low-income artists and organizations in drafting contracts, their model contracts contain not only model formulations for each clause, but also explanations. I. GENERAL INFORMATION Some exhibitions sponsored by non-profit organizations, alternative art spaces and museums may attempt to promote unusual, entertaining or provocative works of art for their respective audiences. These exhibitions may not be sales-oriented and generally do not intend to represent the artist beyond the specific exhibition, although sales are not considered a priority, the artist must evaluate these exhibitions as important advertising opportunities. Ideally, such exhibitions produce high-quality documentation of the work, professional reviews and offer wide exposure to the community. Artists and artisans should see all exhibitions as an opportunity to get involved in their work and always behave professionally. To this end, a comprehensive and well-formulated contract is the most important method for an artist or exhibition organizer to define responsibility and ensure the safety of the work. The many facets associated with organizing a well-organized exhibition are quite complicated. A small effort at the beginning can avoid the misunderstandings that can arise when the artist and the exhibition sponsor have not sufficiently communicated about their respective expectations and the terms of their relationship. There are different types of contracts that come into play for artists who work professionally – whether in the context of representing galleries, receiving commissions or financing, selling a work of art or a temporary work for a temporary 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. 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 Exhibition Sponsor agrees to pay the Artist and the Gallery within thirty (30) days of the sale. C. Due to the long expected period of time between the signing of this Agreement and the Exhibitor`s actual exhibition dates, the Organizer and the Exhibitor acknowledge that, in the meantime, changes may occur to the representatives or employees listed in Section XVIII. The Organizer and the Exhibitor agree to immediately approve or reject any representation of agents or employees and not to unreasonably refuse to consent to such changes, provided that the representatives or employees represented are substantially qualified to perform the functions provided for in this Agreement as original representatives or employees. Of course, galleries and artists have to decide for themselves what form of agreement suits their needs and what agreement they want to make: the following is a proposal. Artists must pack their work professionally. Packaging materials must be reusable and robust.

(Newspapers, adhesive tapes or plastic tapes should not be used in the packaging material. Packing your work with tape means that exhibition staff will have to cut or separate the tape and padding to risk damaging your work.) In another similar scenario, a collector who is used to working with a particular gallery may ask the gallery to arrange the purchase of your work from the exhibition sponsor. As this gallery works for its collector, they expect a percentage of the sale price of the exhibition sponsor. If you haven`t calculated the total selling price of your work, there isn`t enough “leeway” for the gallery to get its percentage. .