Show notes
Artists if you've ever been invited into a public art commission, here's the thing nobody tells you. Most of you assume you've been asked to make a single artwork.
A sculpture, an installation, a piece. You usually haven't. There are six different roles you might be playing inside that project, and getting the wrong one means you've quietly accepted a job you didn't sign up for. Worse hours.
Different fee structure. Different scope. The same brief, with you doing the wrong work inside it.
This is the most expensive mistake that artists make in public art. And almost nobody is told the roles even exist.
Here’s what I want to give you today: the five main reasons public art gets commissioned, the six roles’ artists are actually hired to play and how to recognise which one you’ve been invited into), and one question to ask any prospective commissioner that reveals in 30 seconds whether they’ve properly scoped the project or are asking you to finish their thinking as well as the work.
This is for artists curious about public art who haven’t yet made the move, and for those already working in it who’ve felt a commission go quietly wrong without knowing why.
This episode is part seven of a nine-part series on commissions. The first six cover everything from mindset and pricing through to the legacy package - the foundations you need before you take a single enquiry into public art. If you haven’t done so yet, hit follow so you don’t miss an episode.
KEY TAKEAWAYS
Understand which role you've been invited to at the start of the conversation.
Ask yourself which of those five commission types is closest to what you make already and how you work - that tells you which kind of public commission to be looking for.
If you’re new to public art, treat temporary and meanwhile work as laboratories. They’re lower risk for commissioners, and they let you test how your practice behaves in public
BEST MOMENTS
“Done well, a single public commission can shift the trajectory of an entire practice. Done badly, it can swallow two years of your life and leave you broke, exhausted, and quietly furious.”
“Sometimes it's worth recognising you might not be able to be all things in public art.”
EPISODE RESOURCES
1st episode in series - https://open.spotify.com/episode/3GoxWpKkkdZQE9pvvrGSNt
HOST BIO
With over 35 years in the art world, Ceri has worked closely with leading artists and arts professionals, managed public and private galleries and charities, and curated more than 250 exhibitions and events. She has sold artworks to major museums and private collectors and commissioned thousands of works across diverse media, from renowned artists such as John Akomfrah, Pipilotti Rist, Rafael Lozano-Hemmer and Vito Acconci. Now, she wants to share her extensive knowledge with you, so you can excel and achieve your goals.
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Unlock Your Artworld Network Self Study Course
Our self-study video course, "Unlock Your Artworld Network," offers a straightforward 5-step framework to help you build valuable relationships effortlessly. Gain the tools and confidence you need to create new opportunities and thrive in the art world today.
https://cerihand.com/courses/unlock_your_artworld_network/
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Book a Discovery Call Today
To schedule a personalised 1-2-1 coaching session with Ceri or explore our group coaching options, simply email us at [email protected]
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This Podcast has been brought to you by Disruptive Media. https://disruptivemedia.co.uk/