< INSTALLING SCULPTURE
INFORMATION SUMMARY
FOUNDRIES
• Research the most appropriate foundry and casting process for your individual needs, this might even vary from job to job. Talk to various founders about the services they offer to their artists, and seek artist recommendations on good foundries.
• When deciding which foundry to use, allow for the time and expense of transporting work to and from the studio and the factor in any need to visit the foundry on occasion to arrange administrative details, or view the work in progress.
• Prepare comprehensive but relevant details on the sculpture for foundry quotations. Do not expect accurate or binding quotations to be forthcoming from casual telephone enquiries about designs the founder has not yet viewed. If helpful, obtain comparative quotations from a number of different foundries.
• Budget prices and estimates are not firm quotations. These rough costings also sometimes exclude sales taxes. Guide prices offered by founders should not be considered binding, unless later confirmed in writing. Get a firm quotation as early as practically possible. If unsure as to what is or is not included in a price, request further details. Prices offered by founders may hold good for a limited period of time only, especially during periods of rising commodity prices.
SALES & COMMISSIONS
• When determining the sales value of a completed cast work, remember to allow for the less obvious production costs incurred, such as studio overheads and any non-reclaimable expenses paid to a founder, agent, or other service supplier. As a rule of thumb, a sales price of less than twice the founding fee will yield little if any true profit to the artist.
• When preparing submissions for commission competitions, read the supplied brief carefully and follow the application form’s guidelines carefully.
• Find out precisely the demands likely to be made on the offered commission budget and carefully calculate probable expenditure. When calculating costs, include a generous allowance to cover unforeseen out-goings and cost overruns.
• Fixed budget commissions normally provide a sum of money to include all construction and manufacturing costs in additon to the artist’s fee. In these circumstances, the artist’s eventual income may be variable, subject to the control of outgoing expenses. Fixed fee commissions on the other hand, provide the artist with an income that is independent of production costs, offering the artist what is effectively a guaranteed payment.
• Read carefully and understand fully any proposed contract prior to agreement and signing. If needs be, have a contract checked by a competent professional and ask for amendments to be made to unsatisfactory clauses. Be especially aware of taking on responsibility or liability for items over which you as an artist, have little or no direct influence.
INSURANCE & COPYRIGHT
• Establish what, if any insurance cover is required, and who is responsible for providing insurances on a commissioned work. If relevant, obtain specialist advice on appropriate personal or professional cover.
• Owners of valuable sculptures should consider obtaining an independent valuation and specific insurance cover on the works held in their collection (this includes artist owned and stored works). In addition to insurance cover, depositing documentation with an ART LOSS REGISTER or other recovery agent may be prudent.
• Be aware of copyright and patent issues and how the law applies to your own work and the work of others. Copyright ownership in most countries is automatically conferred and need not be pre-registered. Rights should not be re-assigned permanently to a third party without good reason, or adequate compensation.
TRANSPORT & INSTALLATION
• Do not neglect TRANSPORT, PACKING and INSTALLATION expenses when calculating commission costs and setting project budgets. These items can be expensive, and are not normally included in a founder’s quotation unless specifically requested.
• Specialist fine art and antique transport companies are generally more costly to employ than general purpose commercial transport companies, but as specialists they do usually offer a consistently high level of care and service.
• Packers will usually require an accurate dimensional description of the work’s height, width and length to construct and supply a regular crate. A weight estimate may also be required, especially if the work is to be dispatched via air freight. Always give accurate information as an oversize or overweight consignment is likely to be surcharged.
• When exporting works abroad, employ a competent and reliable SHIPPING AGENT. All works for EXPORT should be fully documented and preferably insured (even when carried by hand). Deliberately misleading customs officials in order to avoid duty payments can lead to severe penalties being imposed.
• The installation of a cast artwork can be a very expensive undertaking; it may also demand considerable logistical organisation in advance of on-site delivery and personnel attendance. Where possible, anticipate installation needs well in advance of scheduled delivery dates.
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