XIII. MISCELLANEOUS Good business practices, modifications or additions to the working relationship with the exhibition sponsor must be signed in writing and by both parties. This avoids misunderstandings or forgotten conversations. Any written changes to the contract must be attached to the original contract of the artist and the exhibition sponsor. If the money is managed by the exhibition sponsor, some of them will not be able to pay the artist until the end of the exhibition. While this may be a common practice, artists should remember that when negotiating contracts, everything is negotiable. If the exhibition lasts longer, for example three or four months, perhaps a faster payment agreement can be made if the work is sold during the exhibition. Artists can receive a percentage of the deposit, e.B. when they receive full payment at the end of the show and before the work is shipped to the new owner.
All of these arrangements require a little more accounting and attention to company detail from the exhibition sponsor and artist. Artists are responsible for keeping themselves informed of payment terms towards the end of the exhibition. C. If the Exhibitor is the first Exhibitor to participate in the Exhibition Tour, the Exhibitor agrees to pay: (i) the transportation costs, including, but not limited to, the actual cost of manufacturing and shipping the distributors of the Works to the Shipper`s place of consolidation outside the Premises; (ii) Transportation costs, including, but not limited to, the Organizer`s packing and shipping and transportation costs, from the Shipper`s place of consolidation outside the Premises to the Exhibitor`s registered office, and (iii) transportation costs, including, but not limited to, the Organizer`s packing and shipping and courier costs to the premises of the next Exhibitor. Visitors are prohibited from photographing the artwork when it is exhibited in the exhibition. XII. DURATION OF THE CONTRACT The duration of this contract is from month, day, year to month, day, year. The artist will not request the return of the work before the end of the exhibition date, unless the exhibition sponsor violates this contract (in which case the artist must send a notice of termination to the exhibition sponsor). Within thirty days of the delivery of the notice of termination, all amounts due to both parties must be paid and all works of art returned to the artist at the expense of the exhibition sponsor. Contracts must confirm specific details of the content of an exhibition, such as: The agreement or contract is the legal document between an artist or owner of a work of art and a lending institution, or between an exhibition organizer and the venue. The artworks are displayed under a plastic display case or glass box. The artist is required to provide exhibition material if the work has special exhibition requirements for the exhibition.
Be sure to clearly indicate your preferred shipping method (shipper) in the contract and related correspondence. C. The exhibitor is responsible for and bears all costs of installing the exhibition, including but not limited to: construction, furnishings and furniture of the exhibition, lighting and graphics. The installation of the works will not take place until all the construction and painting work in the exhibition galleries has been completed. The Organizer will provide a checklist and other handwritten documents by electronic transmission, which will be used by the Exhibitor to create its own object and introductory/explanatory text captions in its preferred format. However, the content of the exhibition texts may not be modified or revised by the exhibitor without the written permission of the organizer. It is preferable that the insurance company or exhibition sponsor who paid the claim for the damaged work is not the owner of the damaged work, as they settle the claim for the damaged work. (This latest edition may conflict with any contract the exhibition sponsor may have with their insurance company.) The main problem for the artist is the possibility that his work will be sold or resold in a broken, damaged or otherwise compromised state. The appearance of compromised works on the secondary market at a potentially reduced price can have a negative impact on the value and marketability of an artist`s other works. There are stories of artists who destroy the work before handing it over to the insurance agent. Consider making a claim only for repairs to restore the work to avoid this problem. In addition, if the work in the exhibition is small enough to send all the works as a group, it must be packed and sent together, not individually, which reduces the possibility of a single box being lost or damaged.
Large, heavy pieces are often packed separately and then shipped as a group. If an exhibition sponsor asks the artist to negotiate separate contracts with each exhibition venue, it is worth checking whether the exhibition proposal is worth it. Negotiating a separate contract with each venue is impractical and ill-advised for the artist and the exhibition sponsor. This topic is particularly relevant if the work is already in the possession of the exhibition sponsor. This could put the work at risk or a kind of insurance “limbo”. At the very least, the absence of an overall contract may mean a less professional approach or inexperience on the part of the exhibition sponsor. The artwork is displayed in a safe environment. Staff will monitor the exhibition space at all times.
It is forbidden for all visitors to touch the work. It is forbidden to eat, smoke or open fire in the galleries/areas where the artwork is located. Photography is not allowed by visitors to the exhibition. This is where a contract between the artist and the exhibition sponsor can be most useful. The best professional relationships are based on trust and good communication. In order to minimize and hopefully avoid possible conflicts, the rights, expectations and obligations of the artist and the exhibition sponsor must be clearly defined in a written contract. Don`t rely on assumptions and memories of verbal conversations. A good contract, such as this Professional Guidelines exhibition contract, can promote a fair standard of professionalism for both parties. Although the sale is 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. BULLETS BELOW for specific exhibition needs: I. GENERAL INFORMATION Some exhibitions sponsored by non-profit organisations, alternative art spaces and museums may attempt to promote unusual, entertaining or provocative works of art for their respective audiences. These exhibitions should not focus on sales and are generally not intended to represent the Artist beyond the specific Exhibition This Agreement is between_______________________ (the “Exhibition Sponsor”) and __ professional cooperation may be pursued to clarify specific issues and communicate mutual understanding of the relationship. 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. The Artist has created and owns the Works of Art listed in the attached list of Works (the “Work”) and wishes to exhibit them.
and that the exhibition sponsor wishes to exhibit the artwork in the exhibition; The parties agree as follows: X. COPYRIGHT Artists always retain copyright in all works of art, even after their sale (unless there is another contract stating that the copyright has been purchased or shared). Artists should mark all works of art and visual materials with the symbol ©, the name of the artist and the year in which the work was completed, if possible. In addition, it may be appropriate to identify the object as unique, limited edition or unlimited edition. Provenance of unique works of art. Keeping long-term records of the unique artworks sold can also be very important to the artist. Such exhibitions are part of the provenance of the work of art (the history of the exhibition of a piece) and can increase the value of the work. Curators or museums working on exhibitions or retrospectives may want to borrow works from collectors in the future. Therefore, artists must keep accurate records of the location of their works. Artists are featured throughout their careers with a variety of exhibition opportunities. While many exhibition opportunities focus on the sale of delivered works, this exhibition contract of professional guidelines addresses issues related to exhibitions whose main intention is not the sale of works, but the presentation of works of art for primarily non-commercial purposes in order to educate, inform or entertain the public….