PPD 5 20/11/15


  • The website lists resources, opportunities and networks
  • opportunities are hand picked, so only the best ones are listed – to minimise the chance of exploitation
  • Artlaw section – archive of Henry Lydiate’s legal arts articles from Art monthly. Contracts and copyright are the most asked about categories. Be prepared and informed about legal stuff.
  • Artroute section – guides on being an artist in specific countries
  • Artelier section – designed to make travel for artists more affordable. You can arrange studio and accommodation exchanges with other artists around the world.
  • Artquest run residencies, talks and seminars


  • Sometimes selling work is appropriate for your practise, sometimes not. If you don’t want to/can’t sell a work you can make editions.
  • think about the integrity of your work, does it make sense to sell it, or make editions?
  • always have a price in mind
  • What are you selling? Who are you selling to? Where are you selling, what is the platform?
  • Different platforms include; commercial galleries (takes a long time to forge a relationship with them), fairs, pop-ups, market stalls, shop, direct sales, online etc.
  • Know your audience and their buying/spending capabilities
  • the ‘right’ person buying your work (e.g a well known collector) can affect sales
  • Be consistent with your pricing
  • Installation work: can you sell the whole piece? Will it make sense in another location? What are the installation costs and who will install it? Does it require maintenance? Manage the buyer’s expectations, for example if the piece is delicate and may need repairs in the future, make sure they know this from the start.
  • Film: what format are you selling – a DVD, an Mp3, an installation? A back up file is usually provided by the artist as standard
  • Performance art – you can sell the re-enactment rights or the documentation.
  • Editions: decide on a number of editions, obviously the fewer the editions the rarer the piece and the higher the price. When you have decided a number, this is final!!! Producing more editions after a limited run will devalue them and annoy buyers. There is a convention of producing an odd number of additions. You can print as you sell. If a piece is selling well you can reproduce it, but the new format must be considerably different or smaller/cheaper e.g. printing a postcard after the success of a limited A1 print run.
  • Artists proofs?
  • Do not fluctuate your prices. The price of a piece is the same in all circumstances/platforms
  • The only way is up, so do not price yourself out of the market by charging too much early on. Decreasing the value of your work is bad.
  • Different ways to calculate a price – material costs? Hourly wage? Good idea to research artists at similar places in their careers and see what they are charging.
  • Leave room for negotiation (i.e haggling)
  • When prices go up; after a major group show; after a sell-out solo show; after winning a prize or significant residency; after a successful year of press and sales or a purchase by a collector.
  • Artists Bill of Sale is a good way to track your work and should include: Date, price, title, description, buyer’s name and details, terms of payment, copyright: stays with artist (!!), signatures.

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