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APPLYING FOR COMMISSIONS

Winning an ‘open’ (publicly advertised), commission is often as not, no small achievement. This is especially the case for younger artists, not least because most commissions are awarded to professional artists with a long and established track record. Other commissions are quite simply ‘closed’, that is to say; competed for by a select group of artists, offered through an artist’s agent, or else given directly to a chosen artist. For sculptors seeking their first big commission, actively pursuing networked contacts, or else signing up with a good agent (gallery), may be the most reliable way of establishing a foothold.

Though there are difficulties involved in securing commissioned work, a fair number of genuinely open competitions are widely advertised each year. Many large commissions are generated from public bodies and funded at least in part by grants and subscriptions, others will be privately funded by corporations. Application details on new commissions are usually advertised in the classified sections of various visual arts periodicals (often published monthly), these magazines are usually available from good bookshops, art galleries and by mail order subscription. It may also help to join a recognised collective body, such as a national society of artists or sculptors, often these organisations offer promotional and other useful forms of professional support.

One of the most important tasks when applying for a commission, is to carefully read the BRIEF – the document that details the proposed project. The brief should include all necessary information, both on the commissioning body’s creative requirements and the how and when of presenting an application. Poorly presented artist’s applications which do not meet the commissioner’s requirements are a waste of effort and are nearly always rejected quickly. Even potentially good proposals (which otherwise might be put forward for consideration), will likely as not be sidelined if unprofessionally or incorrectly presented.

It is perhaps unfortunate, if sometimes also true, that an artist can sometimes be primarily employed as a ‘technician’ to simply interpret or execute ideas formulated ‘by committee’. Under these circumstances the artist may find themselves working to a very specific brief, with relatively little scope for free creative input or responsibility for financial decisions. Whilst these projects can be mundane and not particularly attractive, they do at least allow the artist to predict in advance and with some degree of accuracy, the net financial worth of the commission to themselves.

At the other end of the scale, the award of a commission can place wide ranging responsibilities on the artist. A commission winner can effectively become overall PROJECT MANAGER; working not only on the construction and design of the artwork itself, but also with a direct responsibility for the budget expenditure. The artist may also be required to choose a foundry, organise transportation and supervise the artwork’s installation. In addition to all this, the artist may have to provide direction on related items such as lighting, plinth construction and even the surrounding environs. Whilst many of these tasks are normally undertaken in conjunction with architects and other construction professionals, they can all add considerably to the responsibilities already placed upon the artist. The potential demands likely to be made upon the artist by a commission project should be carefully weighed up and adequately reflected in the fee offered. In this respect, it is important for an artist to look very carefully at the brief, and wider implications of taking on a commission (see FIXED BUDGET & FIXED FEE COMMISSIONS).

Most openly publicised commissions initially request the submission of an outline proposal, together with sketches and not infrequently, photographic examples of previous artworks. On this last point, always double-check whether a DIGITAL, SLIDE or PRINT format is specifically requested. Always submit duplicates, never send valuable original photographs, slides or negatives of portfolio work – even when an immediate return is promised. Normally no fee is payable by, or to the applicant at this stage. Artists should be wary of any requests for a ‘submission’ or ‘handling’ charge. Unlike gallery based exhibitions which offer prizes or sales opportunities, genuine commissions rarely have any justification for levying submission or other administration charges on submitting artists.

When putting together an initial proposal, the applicant should always be mindful of the client’s brief, this includes being realistic about what can be achieved with the money on offer. If the proposed artwork is to be cast in a professional foundry, then a commission budget of say $30,000.00 to cover all expenses and the artist’s fee, will not usually allow for an especially imposing piece to be produced – even if the artist was willing to work on the project at an rate on or below the local minimum wage. A well researched brief should realistically outline the scope and scale of artwork that can be achieved within the published budget.

After all the submitted proposals have been assessed by the commissioning agency, a short list of candidates will normally be drawn up. Short-listed applicants will often be required to submit a second more detailed proposal, possibly including both drawings and a scale maquette. The issue of budget expenditure may also arise and initial enquires to foundries and other contractors may be appropriate here, if only to establish a rough estimate of likely production costs. Those artists who are invited to participate in a short-list process should at the very least be reimbursed expenses, though payment is sometimes provided in the form of short-list award or consultancy fee. High profile commission projects which are designed to attract senior artists frequently offer short-list awards of substantial value.

Short-listed artists can also usually expect to attend some form of interview with a commissioning panel. For the most part these interviews are designed to establish the artist’s creative direction and exchange ideas, intentions and comment – though commissioning bodies will also often use these initial encounters to assess an applicants likely competence and commitment to the project.

BUDGETING A COMMISSION >

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© Robert Moule 2008