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1
Name of institution (please indicate N/A if you are not comfortable to disclose)
Please also indicate the region it's based in:
Please indicate the rough scale of the institution (if you're unable to name names this will help us sort the data)
When did the commission / exhibition take place?
How much was the artist fee?
How much was the production budget? If you weren't told, please indicate 'not disclosed'
Short description of the scale and scope of the commission – as much or as little information as you are comfortable to give – e.g large solo show, outdoor commission, public workshop, performance evening
How long do you estimate you spent working on the commission on a full-time basis?
What kinds of work and resources did the institution/ commissioner expect your artist fee to cover?
Was there a separate access budget available in addition to the fee / production budget?
Your age at the time of the commission
Number of years working as an artist at the time of the commission
Do you feel you were paid fairly for your time your time and experience?
Do you feel you were paid fairly in relation to how others working on the project were paid (ie. curators and technicians)
Did your pay feel proportionate to the scale of the project?
Any other comments you would like to add
Please tell us your gender (if you feel comfortable to)
Please tell how you define your race / ethnicity (if you feel comfortable to)
Was there a separate access budget available in addition to the fee / production budget?
2
n/aLondon
Publicly funded exhibition or project, i.e ad-hoc curatorial/artist-run projects supported through Arts Council or similar public funding bodies.
2015–present0Not fully disclosed
a year long project with a huge amount of press attention
4 months No fee given31-405-10NoNoNo
Was offered a fee and then this disappeared from the offer, a lack of fee was embarrassing, felt ashamed and blow to self confidence - only when talking to fellow artists years later did I find out I was not the only one. Working with all of the (paid) large exhibition team and press team is just more (unpaid) labour for an artist. To have huge exposure while you are struggling to cover your day to day expenses was mental torture. Then to see individuals and institutions who are perpetuating these ways of working paying lip service to fair pay for artists whilst not providing it themselves is mind blowing. Do less shows and pay artists better / simply pay artists for the work they do! In the over 10 years of being a jobbing artist day fees for events and talks etc do not seem to have changed either. Talk to fellow artists, do not suffer alone.
-N/aNo
3
Durham University - Cosins LibraryNorthern England
Large public institution ie. the Serpentine, Hepworth Wakefield, the Whitechapel, etc.
2015–202060050Small intervention
Deliver two online bookmaking workshops. Fee was good, included prep and delivery. Production fee was £50. This had to cover making up bookmaking packs and postage. £3.33 per person. The post was £3.20. I tried negotiating less participants, which was agreed. I asked for £20 more. They refused. I pointed out they should have a contingency budget (ACE funded redevelopment of their collection). They said they would take it on board for future projects. I had to use my daily fee to cover the production budget. I told them it wasn't my usual practice to subsidise other peoples art projects.
workshop51-6011-20YesNoNo
I have been working on projects for oevr 10 years and have had the experience of feeling demorolised and used after completing commissions. I had hoped I had moved on from this, but even now it continues to happen. I dont think organisations understand the effect such exploitative practice has on artists mental health. It can ground people down so they leave the sector - years of experience or those new to the sector, leave because they do not have the financial cushion or feel excluded because of race, disbality, gender or age.
FemaleWhite British
4
Turner Contemporary Southern England
Medium public institution ie. the Bluecoat, Towner Art Gallery, De la Warr Pavillion, etc.
2015–present110002700
Large solo show in multiple outdoor locations
1.5 years
Attending meetings, Presenting proposals, Research and development, Time spent producing work, Production costs and materials, Production management, Installing the work and supervising install, De-installing the work and supervising de-install, Cost of studio space for production of the work, Wages for artists' assistants
31-405-10NoNoNo
The project altered in response to institutional mismanagement. They didn’t honour contractual agreements and habitually pay artists too little for their work. It was a dreadful experience.
Female White British No
5
East Street ArtsNorthern England
Smaller public art institutions, ie. Grand Union, Peer, Auto Italia, etc.
2015–202020002000commission30 days
Attending meetings, Presenting proposals, Research and development, Time spent producing work, Installing the work and supervising install
31-4011-20NoUnsureNo
6
Southern England
Medium public institution ie. the Bluecoat, Towner Art Gallery, De la Warr Pavillion, etc.
2015–present0800Public workshop 15
Presenting proposals, Research and development, Time spent producing work
41-501-5NoNoNo
I proposed a series of art workshops. While waiting for the contract to arrive, I researched and provided a programme (plus a list of materials and equipment that would be required). After submitting that work I was presented with a contract where the client would own all the rights to my workshops, including any artwork of mine that I used. I refused to sign and lost the contract, as it would mean I couldn’t teach that programme anywhere else and they would also own the copyright to any of my art I used for demonstration purposes. After I lost the contract they used the outline and description I supplied (essentially word for word) to advertise the course with another artist. They did not have similar art programme prior to my proposal. I am thankful didn’t give them any further information. I was not remunerated for my proposal, however if I had signed the contract I would have been paid for those hours. This was a council run project.
FemaleMinority
7
Copeland GalleryLondon
Smaller public art institutions, ie. Grand Union, Peer, Auto Italia, etc.
2015–present450None
Invited to exhibit (small solo show)
Used existing work
Time spent producing work, Production costs and materials, Installing the work and supervising install, De-installing the work and supervising de-install, Wages for artists' assistants, Costs for transportation and return
20-251-5NoNoNo
I realised later the invitation to be part of the show was most likely a late realisation that there were no non white artists on the line up. When it came to sending my invoice I didn’t hear from the gallery. My payment terms had passed and I contacted them to reissue a new invoice with my late payment fees and the gallery claimed my email tone was aggressive. I was made to feel like the villain for asking for pay for work that’s already been done. They eventually paid me but failed to pay my late payment fee. I wish I had quit working as an artist then as many more moments like this would soon happen in my life and I don’t know if it’s worth it anymore.
Non binaryBlackNo
8
BalticNorthern England
Large public institution ie. the Serpentine, Hepworth Wakefield, the Whitechapel, etc.
2015–202000One room solo show3 weeks
Research and development, Time spent producing work, Production costs and materials, Production management, Installing the work and supervising install, De-installing the work and supervising de-install, Cost of studio space for production of the work
26-305-10NoNoNo
9
N/ANorthern England
Large public institution ie. the Serpentine, Hepworth Wakefield, the Whitechapel, etc.
2015–present300Not disclosed
Supplementary paper based commission to accompany a large show
3-4 days
Research and development, Time spent producing work
31-405-10UnsureUnsureUnsure
This example was just disappointing because the work I produced wasn’t even used due to of lack funds. I still don’t know if it’s because my work wasn’t what they quite wanted (i would’ve been more then willing to change aspects). It may have been a small commission but it was a big deal to me and I was really excited about it. As someone who just gets on and self organises, I am not used to working in such a formal way so a little more communication would’ve helped! I do like to see peoples faces when communicating too, so exchanging emails is sometimes not really enough to understand the tone. I still got paid for the project but am left feeling a little uncomfortable that what i produced was ‘wrong’ or not good enough which is not a feeling anyone wants amidst a pandemic and scrambling around for bits of work.
Female White British No
10
N/ALondon
Publicly funded exhibition or project, i.e ad-hoc curatorial/artist-run projects supported through Arts Council or similar public funding bodies.
2015–20202500N/A
Commission of work to be shown as public art work, as part of an exhibition in the gallery, and a performance evening
15 days
Attending meetings, Research and development, Time spent producing work, Production costs and materials, Production management, Installing the work and supervising install, De-installing the work and supervising de-install, Cost of studio space for production of the work, Wages for artists' assistants, To be on a panel discussion, to organise a performance evening
20-251-5UnsureUnsureUnsureFemaleWhite British + Irish
11
N/ANorthern England
Large public institution ie. the Serpentine, Hepworth Wakefield, the Whitechapel, etc.
2015–202030001500
Residency/Commission of new work, alongside delivery of outcomes from socially engaged co-creation.
Don't remember
Attending meetings, Research and development, Time spent producing work, Production management, Installing the work and supervising install, De-installing the work and supervising de-install, co-creation sessions
41-5021-30NoUnsureUnsure
After a few weeks of socially engaged delivery, having had protracted issues getting weekly invoices paid and having to cover train fares myself whilst not being paid for the time worked, I was told the partner organisation representing the community group were no longer happy for me to work with the particular group. This happened directly after my disclosing to members of the group the details of my ethnicity. I was told that this work could not be continued with an alternative group, and that I would not receive the remaining fee (well over half the full budget) to fund the research, development and production of any new work, despite having already done some of this work. I was effectively 'sacked' from the commission, the position being passed to another artist, chosen by the partner organisation and who the group had worked with previously.
female
mixed Asian/European
12
DovecotScotland
Medium public institution ie. the Bluecoat, Towner Art Gallery, De la Warr Pavillion, etc.
2015–202045not disclosed
group exhibition but new work commissioned
2 months
Attending meetings, Presenting proposals, Research and development, Time spent producing work, Production costs and materials, Production management, Installing the work and supervising install, Cost of studio space for production of the work
31-405-10NoNoNoHad to fundraise for my own production costsFemaleWhite
13
The Hayward Gallery London
Extra large national institution, ie. Tate, the V&A, the National Gallery, the National Gallery of Scotland, etc.
2015–present800
0 (the fee was inclusive of budget)
site specific performance work with four professional dancers and myself as choreographer.
4 months
Attending meetings, Presenting proposals, Research and development, Time spent producing work, Production costs and materials, Production management, Cost of studio space for production of the work, Wages for artists' assistants, the fees of four profesional dancers
26-305-10NoNoNo
The fee was to cover 4 months of work, materials and rehearsal time, additionally we were not given any rehearsal space or a budget to cover time in a dance studio. It was suggested we should rehearse in public outside the royal festival hall. As I was young in my career at the time, I didn't feel I could say no
Female Mixed No
14
Centre for Chinese Contemporary art Northern England
Medium public institution ie. the Bluecoat, Towner Art Gallery, De la Warr Pavillion, etc.
2015–2020800
originally 1700, then 2240 after negotiations, eventually ~2700 to cover everything
Solo show3.5 months
Attending meetings, Presenting proposals, Research and development, Time spent producing work, Production costs and materials, Production management, Installing the work and supervising install, De-installing the work and supervising de-install, Cost of studio space for production of the work, Wages for artists' assistants
26-305-10NoNoNo
There was a lack of clarity on the available budget and what it should include. Halfway way through the project (after already negotiating for more production budget to cover the amount of work I was doing), I was told that £850 from my production budget had to go towards deinstall, return shipping and exhibition vinyl - I wasn't made aware of this from the outset, only once I was deep into the project having researched, planned and started production on the show. This came as a huge shock: to have such a large chunk of money taken out from an already limited budget, to cover practical costs that I thought the institution was already covering.
I held my ground and raised the lack of transparency, arguing that at such a late stage I was not happy to lose this amount from my budget.
After a number of lengthy and exhaustive emails, they were finally "willing to increase the budget in order to cover these elements and materialise the exhibition." [they covered these costs up to £600]
15
Centre for Chinese Contemporary ArtNorthern England
Medium public institution ie. the Bluecoat, Towner Art Gallery, De la Warr Pavillion, etc.
2015–20203501000
New Film and Video Commission in Group Show of 4 Artists
2 Months
Attending meetings, Presenting proposals, Research and development, Time spent producing work, Production management, Cost of studio space for production of the work, Wages for artists' assistants
26-301-5UnsureNoNoChinese
16
Creative people and places Middlesbrough borderlands
Northern England
Medium public institution ie. the Bluecoat, Towner Art Gallery, De la Warr Pavillion, etc.
2015–present5000
No. Not told this part of project then expected to print and deliver for free
Socially engaged visual art working with 15 women
30 days
Attending meetings, Presenting proposals, Research and development, Time spent producing work, Production costs and materials
31-401-5NoNoNo
Ended up not being paid 1.9k of fee and didn’t get paid other amount for 6 months. Goals changed constantly.
Non binary White No
17
TateLondon
Extra large national institution, ie. Tate, the V&A, the National Gallery, the National Gallery of Scotland, etc.
2015–2020100Not disclosed One hour public talk/discussion2 hours
Research and development
20-251-5YesYesYes
18
Waterside ArtsNorthern England
Smaller public art institutions, ie. Grand Union, Peer, Auto Italia, etc.
2015–20202000Not disclosed
A curatorial development programme, with the output being to curate of one of their exhibitions. No travel or access budget, no contract or agreement in place. Payment a year late!
2 months
Attending meetings, Presenting proposals, Research and development, Installing the work and supervising install, De-installing the work and supervising de-install, Public-speaking, tours, VIP hospitality
20-251-5NoUnsureNo
Do you feel you were paid fairly in relation to how others working on the project were paid (ie. curators and technicians) *

Yes I was paid fairly for my experience,
But no - it didn’t reflect the time spent

Please consider adding disability to this survey - and if access budget is separate or included in the fee.
She/herBritish / Hispanic
19
Turf ProjectsLondon
Smaller public art institutions, ie. Grand Union, Peer, Auto Italia, etc.
2015–present15002000Solo show6 months
Attending meetings, Presenting proposals, Research and development, Time spent producing work, Production costs and materials, Production management, Installing the work and supervising install, De-installing the work and supervising de-install, Cost of studio space for production of the work
41-5011-20UnsureYesNofemalewhite britishDon't know
20
Civic Room Scotland
Publicly funded exhibition or project, i.e ad-hoc curatorial/artist-run projects supported through Arts Council or similar public funding bodies.
2015–present10001000Solo exhibition 6 months
Attending meetings, Presenting proposals, Research and development, Time spent producing work, Production management, Installing the work and supervising install, De-installing the work and supervising de-install, Cost of studio space for production of the work
31-4011-20NoNoNo
In the exhibition contract, it stated that I would be paid 75% of the production fee prior to the exhibition and 25% on completion of the show. I spent more than the production fee producing this work but accepted this and self funded the excess from a part time job. On completion of the show, I invoiced for the remaining 25% of the agreed production budget to be told that the gallery wouldn’t receive the funding to pay me until the ‘completion of the project’ which meant their entire year+ long programme of which my show was the first. I contested that this wasn’t what was stated in my contract and the gallery said they weren’t able to give me a payment date despite having received the funding for my exhibition. I was asked to wait an unspecified amount of time to be reimbursed for production costs I had already incurred and which I needed to recoup being a freelancer on a low wage. I had a very stressful and emotional back and forth with the director who, to make things more awkward, I had become friends with. The relationship broke down completely for me when the director said to me on one of the last occasions that we spoke, “If you desperately need the money, I will pay you from my own account.” I did eventually get paid but having to fight for it was demoralising and the whole experience has made me considerably lose confidence. This was early 2019, I haven’t made any work since. The director of the gallery got close to me, we became friends, I divulged personal information about my life and my health. Looking back, we developed too much of a familiarity that made any attempts at professionalism more difficult, especially when things became fraught.
Woman No
21
BarbicanLondon
Large public institution ie. the Serpentine, Hepworth Wakefield, the Whitechapel, etc.
2015–20202500
It was to produce half an hour of online audio content.
62 hours (that's exact rather than an estimate)
Attending meetings, Research and development, Time spent producing work
41-5011-20NoUnsureNo
The fee first proposed was £250. The commissioner recognised that this was a nominal fee but caveated this with saying that it was because it was a "community project". I went back to the Barbican and said that a fee of £250 for 4 days work was not acceptable. At this point I was told to present a fleshed out proposal, the community element was emphasised (see direct quote below). I did this and they offered me a further £250 for the work. When the work and festival was finished, I was asked to fill in an evaluation survey in which I said their fee did not even meet the minimum wage, they then paid a further £500, so the final fee was £1000. So, £1000 still did not pay the value of the work, however I was appreciative that they found some more funds. What I was annoyed about was that the the work was not valued right from the start. We were all expected to contribute and be grateful to be part of a community event. The fact that we were all artists 'from the community' should not mean that we are devalued. This is the email quote from the commissioner regarding the initial fee of £250: "I realise the work that goes into making audio, the issue is we have a large number of partners who are all contributing and making things for the show, and given that this is a community project we have a slightly restricted budget to work with. I did say it would be somewhat nominal - like a contribution towards it." We are not a charity!
FemaleWhite british
22
TetleyNorthern England
Medium public institution ie. the Bluecoat, Towner Art Gallery, De la Warr Pavillion, etc.
2010–201475not disclosedperformance evening2 weeks
Time spent producing work, Cost of studio space for production of the work
26-301-5NoNoNoFemaleWhite
23
Create LondonLondon
Smaller public art institutions, ie. Grand Union, Peer, Auto Italia, etc.
2015–20201600020000
large public commission/workshops, working with multiple 'stakeholders', funders, businesses and employees.
2 years
Attending meetings, Presenting proposals, Research and development, Time spent producing work, Production management, Installing the work and supervising install, De-installing the work and supervising de-install, Cost of studio space for production of the work, Wages for artists' assistants, mentoring and coaching
31-4011-20YesNoYes
Keep a time sheet, especially if you're being paid a lump sum that seems huge to you as an artist but is tiny in comparison what the employed staff get and what you have to deliver. Set your day rate and then stop working or renegotiate when you've hit the limit. Funders and directors have no clue what the work actually takes and it's easy for them to outsource politics, conflicts and logistics to you. I had so little support on a massive complex project and regularly worked 12h days. The pressure to make things work and to be grateful and positive can really break you. They never factor in reflection, rest and the expectation to overdeliver is unspoken and loud. Everybody overcommits and as the artist you're at the bottom of the food chain and expected to do your 'magic' in a system that is structurally fucked.
female White European
24
House of ParliamentLondon
Extra large national institution, ie. Tate, the V&A, the National Gallery, the National Gallery of Scotland, etc.
2015–present2500060000 Inc my fee
I had to design and deliver 7 participatory workshops to be delivered across 7 cities and institutions. Over the course of 10 months I had to go on 27 2-3 day trips outside of London. I am a single mum of a son who was only 7 at the time. I worked with over 300 community members. I produced 200 participatory photographic portraits along side a soundscape for each city using interviews I'd taken at the workshops. I had to oversee the exhibiting of these works in the 7 cities and also at a longer running exhibition at Westminster Hall. As the project went on I expressed my need for supervision as I was interviewing people daily from ages 12-99 about their experiences of race in the UK. During my time there I also had a miscarriage and got alopecia areata. They said they could only provide me with an occupational therapist. Before I was offered the position I was told I would need to have part time work and not to see it as my main job. However due to the extensive work hours I was unable to secure flexible enough work to fit around their hours.
18 months
Attending meetings, Presenting proposals, Research and development, Time spent producing work, Production costs and materials, Production management, Installing the work and supervising install, De-installing the work and supervising de-install
31-4011-20NoNoNo
I am graduate with a BA in Photography, a PGCE in arts education and a MA in Global cultural and creative industries. I come from Brixton and as a black woman of mixed race and working class origin, I thought that this artist residency would be a great way of working with my community and others similar across the UK whilst bringing attention to racial issues that face black and brown people across the UK. I had my concerns as it is parliament but I tried to approach it with hard work positivity honesty and transparency. During this time the Windrush scandal was made public and as I am half Jamaican and my dad was effected by the policies it was challenging for me to proceed but I did. The partner institutions - such as Glasgow women's library, the bluecoat, Nottingham contemporary, etc were all amazing to work with but were only offered them £3000 for their involvement. Due to Brexit the project was not completed properly with monitoring or evaluation and the phase 2 where I was to be further commissioned to Creat a permanent piece of work to be displayed in parliament was scrapped.
Cis womanBlack mixed race Yes
25
JerwoodLondon
Large public institution ie. the Serpentine, Hepworth Wakefield, the Whitechapel, etc.
2015–202015060performance evening2 weeks
Time spent producing work, Installing the work and supervising install, Cost of studio space for production of the work
31-405-10NoNoNoFemaleWhite
26
Turner contemporarySouthern England
Large public institution ie. the Serpentine, Hepworth Wakefield, the Whitechapel, etc.
2010–20140Not disclosedLarge group show
8 days admin/preparing work/crates and preparing dispatch
There was no fee offered.
41-5011-20NoNoNo
I did manage to get £300 in the end. On the loan form there was a section on expenses. I filled it in, outlining the work I had done and asked for a modest amount (I can’t remember exactly, but under £1000). I swiftly got a phone call to explain that they did not mean for me to fill that section in. This was for loans from other institutions/collections not for artists. I explained my position and they agree artists should be paid but there simply wasn’t the budget. I explained there should be budget for artists and it was a wholly unfair situation. They finally agreed to pay me a nominal fee.
I am a womanWhite Irish
27
Tate (Tate Britain)London
Extra large national institution, ie. Tate, the V&A, the National Gallery, the National Gallery of Scotland, etc.
2005–200925
0 (fee was £50 for two artists to perform)
Late at the Tate performance2 days
Time spent producing work, Production costs and materials, performance
20-251-5NoNoNo
The whole experience was rushed. The Tate ran the Late Night series for profit from their bar.
There were approximately 800 people in attendance.
It was the usual thing of young, early career artists feeling they were being given a chance by a renowned institution. Paid by "exposure" etc so agreeing to whatever fee was offered.
It was only afterwards, talking to the technicians involved, seeing how much they were paid, that we felt we hadn't been treated fairly.
malewhite British
28
N/ASouthern England
Publicly funded exhibition or project, i.e ad-hoc curatorial/artist-run projects supported through Arts Council or similar public funding bodies.
2015–present05000
We were accepted onto a program giving funding to make a short arts film, supported by the offshoot of a major brodcasting company and arts funder, through a smaller local organisation. We were given a production budget to cover everything which we had initially thought would include an artist fee for myself and my collaborator. After accepting the commission, on training days we were then told that around £1200 would have to be spent on specific post production house and after paying for this and covering contributors fees it left the lead artists with nothing. I was extremely disappointed that a program funded by two well known institutions could run a project with no designated artist fee.
2/3 months
Attending meetings, Research and development, Time spent producing work, Production costs and materials, Production management, Installing the work and supervising install, Cost of studio space for production of the work, Wages for artists' assistants
26-301-5NoNoNo
I am still glad I undertook the project as it has lead to new opportunities, but I feel neither myself or others should not have to sacrifice self worth and income to progress.
Female Mixed heritageDon't know
29
Pacitti company/Spill Festival Southern England
Medium public institution ie. the Bluecoat, Towner Art Gallery, De la Warr Pavillion, etc.
2005–20096001000
I’ve been thinking about including this for ages. It sounds like a decent amount but this period of “training” that led to the showing at show case, was over a 12-15 month duration. Led to bring picked for larger festival in bigger scale institutions. The money worked out per hour worked as pennies. I was expected to get my own ACE on top of the fee. Things were paid on my behalf - so I didn’t see all of this amount. I’m sure it’s standard but is it stressful when already written proposals, “got into the show” and then expected to work on finding extra funding. Never mind the controlling elements of the director of the company (who has recently stepped down but still is involved with the festival) We were allocated a training producer, most on this training scheme. Which sounds great but they were paid low too (for the duration) and the support was bit of a favouritism game. We all had to attend meetings, mixers & other things. Trains were booked for anyone who didn’t live nearby & paid for - but there was no access needs met or understanding for disabled or neurodivergent asking for additional accommodations. I asked for video chat for example & it was strongly worded as preferable to come in person. “Just get an earlier train!” Many of us were micromanaged into feeling guilt by the then “cutting” Director. NPO tick boxes do not equal the actual. That vocalisation of scarcity “not many paid opportunities in the arts” and how lucky we were for the platform was repeated, it emphasised this controlling unsafe spaces feeling. On the surface the festival looks harmonious but it’s got a bitchy underbelly, some of the (now restricted staff) were sexist, classist, displayed fatphobia (reducing one artist to tears) & Ableism, other isms came out at the after work drinks at the bar... some acted like it was “real housewives of performance art on drag ice” or something. There’s a “but my best friend is xyz” vibe & that’s not cool. I didn’t fully know how to call out institutional bias back then - I still fully don’t. Younger artists are infantilised. It isn’t just about money - it’s dignity and self worth. They have also worked with a know abusers. Several of the female artists on same programs as me, had mentioned being uncomfortable about several of the artists (there were several men are accused of raping, grooming, beating up several people) and was privately discussing safe guarding - dismissed and ignored - told to “be professional, it’s not like you are the only one, move on” I was disgusted hearing this. Challenged it & told in temper, if I knew what blacklisting was. Threatening my career. One of these abusers was in the festival same time as me. The survivor artist had a breakdown. Another is heavily featured in their tarot (hermit) and books. This was moved to be displayed showing his picture the day after that conversation. Felt (but hard to prove) vindictive. The survivor producer in training had a breakdown. Later we found others were affected by this. People were coming forward & nothing was being put into place to support. When I tried to support them, but I was belittled & told I could walk away. I had a breakdown at the end. Since I’ve found so many have had mental illness flare up because of (Robert Pacitti) during and after this time due such ego. The way some of the staff were acting is not ok. So aprox £1600 (it might have been bit more if include the travel budgets etc) for 15 months work isn’t a wage to live off & the tournament of artists to “know their place” in the arts-eco system needs to stop. It’s abuse. Most of us got mental and physical exhaustion. I had two p/t jobs to support myself & I never felt this in those demanding roles I juggled but in this arts opportunity I’m suddenly loosing hair & sleep. We need better ways for the artists & producers that tried to safely call out the rapists/violent men have said - if they had known a few grand is not worth the re-traumatisation.
15 months (part time because I have two other jobs too)
Attending meetings, Presenting proposals, Research and development, Time spent producing work, Production costs and materials, Production management, Installing the work and supervising install, De-installing the work and supervising de-install, Cost of studio space for production of the work, Wages for artists' assistants, Didn’t get ACE for project so I paid for making
26-3011-20NoNoNoIt’s scary writing this.
30
The Ceramic House Southern England
Smaller public art institutions, ie. Grand Union, Peer, Auto Italia, etc.
2015–present1000N/A
Full commission, with public funding. Myself and the other artist were bribed into creating a new commission for more days than we agreed and they gaslit us when we kept them informed of how the project was stacking up. My both agreed to do only 4 days work. They started saying that we were making it up, even though we had it in writing. It was an awful experience.
2 months.
Attending meetings, Research and development, Time spent producing work, Production costs and materials, Production management, Installing the work and supervising install, De-installing the work and supervising de-install, Cost of studio space for production of the work, Wages for artists' assistants
31-405-10NoNoNoIt was an awful experience Female
White British - disabled artist
No
31
Eastside ProjectsMidlands
Smaller public art institutions, ie. Grand Union, Peer, Auto Italia, etc.
2015–20200150
New work produced for group show
2 months
Attending meetings, Research and development, Time spent producing work, Production costs and materials, Cost of studio space for production of the work
31-4011-20NoNoNo
I had assumed (wrongly) that there would be a fee or at the very least a production budget - we got so far along with meetings and discussions around the work that I was too embarrassed to ask for a fee. When I asked about being reimbursed for materials I was told there was no money, but they could stretch to a small amount (this didn’t cover even half of what I spent) - I was made to feel like them paying for my train fare and putting me up for 3 nights in a budget hotel was payment enough.
Female White
32
N/ALondon
Large public institution ie. the Serpentine, Hepworth Wakefield, the Whitechapel, etc.
2015–20203000Not disclosedSolo exhibition of existing work10 days
Presenting proposals, Research and development, Time spent producing work, Production costs and materials, Production management, Cost of studio space for production of the work, Wages for artists' assistants
31-405-10UnsureUnsureUnsure
33
N/ALondon
Medium public institution ie. the Bluecoat, Towner Art Gallery, De la Warr Pavillion, etc.
2015–present2600
Make 4 drawings for their greeting cards in the Westminster Abbey shop
About 2 weeks
Time spent producing work, Production costs and materials
26-301-5NoUnsureNo
I was making work in the Abbey a lot around that time and they found me on social media and asked to use work for their cards. It was a one-off fee and they still sell the cards. This means I got paid £65 per drawing, that they can sell for as long as they want, reprinting with no further payment to me. I was new the world at that time and didn't know how to discuss money with an institution.
femaleWhite, BritishNo
34
Northern Ireland
Publicly funded exhibition or project, i.e ad-hoc curatorial/artist-run projects supported through Arts Council or similar public funding bodies.
2015–202025010%Video installation 7 days
Installing the work and supervising install
31-405-10UnsureYesYesVery MaleHuman
35
S1 Artspace Northern England
Smaller public art institutions, ie. Grand Union, Peer, Auto Italia, etc.
2015–present150019500
Major new moving-image commission
18 months
Attending meetings, Presenting proposals, Research and development, Time spent producing work, Production management, Installing the work and supervising install, Cost of studio space for production of the work, Wages for artists' assistants
31-405-10UnsureNoNo
I contributed £1,500 to the project from an award I won this contribution came back to me as my fee which cancels out in some ways
female mixed Yes
36
Tate Britain London
Extra large national institution, ie. Tate, the V&A, the National Gallery, the National Gallery of Scotland, etc.
2015–present1000Full budget not disclosed Large solo show of new work 1 year full time
Attending meetings, Research and development, Time spent producing work, Production costs and materials, Production management, Installing the work and supervising install, Cost of studio space for production of the work, Wages for artists' assistants
26-305-10NoNoNoFemale White British Don't know
37
Test Valley CouncilSouthern England
Publicly funded exhibition or project, i.e ad-hoc curatorial/artist-run projects supported through Arts Council or similar public funding bodies.
2015–present1200Not disclosed5 Illustrations and book cover20 days
Attending meetings, Presenting proposals, Research and development, Time spent producing work, Production costs and materials, Adjusting work because their timescales had slipped.
31-405-10NoYesNoFemaleWhite BritishNo
38
Nottingham Contempoary Midlands
Large public institution ie. the Serpentine, Hepworth Wakefield, the Whitechapel, etc.
2015–202000
Invited to develop workshops & talks
A month
Presenting proposals, Research and development, Time spent producing work, Production costs and materials, Production management, Installing the work and supervising install, De-installing the work and supervising de-install
31-405-10NoNoNo
The curator that organised it took advantage of my disabilities, fobbing off my needs and every time I questioned contacts & ROP I was micromanaged into feeling guilt for asking.
I was told there was no budget “it will look good on your CV” & after doing the prep, I felt powerless. I was not paid. I was mad to feel it was an honour to even be included. The institute pays some and others are “community outreach” and not budgeted for.
Female
White (with mixed heritage)
39
National Portrait GalleryLondon
Extra large national institution, ie. Tate, the V&A, the National Gallery, the National Gallery of Scotland, etc.
2015–present03000
Two large scale works for a group show that toured internationally
1 year
Attending meetings, Presenting proposals, Research and development, Time spent producing work, Production management, Installing the work and supervising install, Cost of studio space for production of the work, Wages for artists' assistants
41-5021-30NoNoNo
The exhibition was a paying exhibition with tickets around £16 per adult, only the production costs were covered, a small daily fee to supervise the install. No other artist fee or expenses. The preview was a grand affair with a names DJ, influencers and ‘stars’ paid to attend, I received no allowance for attending and was expected to be there for press interviews. The only people not paid were the artists, the content providers, the whole reason for the exhibition. This isn’t a unique experience, it is often the case you as the exhibiting artist is the only one not getting paid kn the room.
MaleWhiteNo
40
N/ANorthern England
Large public institution ie. the Serpentine, Hepworth Wakefield, the Whitechapel, etc.
2015–present10000
New sculptural and installation works in group show
20 days
Time spent producing work, Production costs and materials, Installing the work and supervising install, De-installing the work and supervising de-install
31-405-10NoNoNoWhiteNo
41
N/ALondon
Extra large national institution, ie. Tate, the V&A, the National Gallery, the National Gallery of Scotland, etc.
2015–present200010,000
large outdoor interactive installation
2 months
Attending meetings, Presenting proposals, Research and development, Time spent producing work, Production costs and materials, Production management
26-305-10NoNoNo
We applied for an open call at this huge, house-hold name institution. We put in a huge amount of work for the proposal, made mock-ups, models, budgets, risk assessments, went to several meetings etc and we were informed we were successful in our application. Then everything went quiet. They ditched us without even having the decency to tell us transparently. We found out via their website they had commissioned another work.
Non-binary femaleMixedDon't know
42
Hayward gallery London
Large public institution ie. the Serpentine, Hepworth Wakefield, the Whitechapel, etc.
2010–2014600Not disclosed
New site specific show - large scale multimedia installation
One and a half years
Attending meetings, Presenting proposals, Research and development, Time spent producing work, Cost of studio space for production of the work
26-301-5NoUnsureNo
43
Baltic centre for contemporary art Northern England
Large public institution ie. the Serpentine, Hepworth Wakefield, the Whitechapel, etc.
2015–present250Not disclosed
Public workshop in painting and a presentation
2 weeks
Attending meetings, Presenting proposals, Research and development, Time spent producing work, Production costs and materials, Production management
20-251-5YesUnsureYesThe baltic paid me fairly in my opinion Female WhiteNo
44
Serpentine GalleryLondon
Large public institution ie. the Serpentine, Hepworth Wakefield, the Whitechapel, etc.
2010–2014300Not disclosedTemporary commission 2 months
Attending meetings, Presenting proposals, Research and development, Time spent producing work, Production costs and materials, Installing the work and supervising install, Cost of studio space for production of the work, Site visits
31-4011-20NoNoNoFemaleWhite British
45
n/aLondon
Large public institution ie. the Serpentine, Hepworth Wakefield, the Whitechapel, etc.
2015–20203000150,000
all new commission for large solo show, catalogue, public programme
9 months
Attending meetings, Presenting proposals, Research and development, Time spent producing work, Cost of studio space for production of the work, Wages for artists' assistants
31-405-10NoNoNo
I was originally offered a £1500 fee. I said this was unacceptable. I was told that most artists in my position (ie showing on this scale, at this institution) simply did not need the fee, and so did not question it or demand more. I asked for £10,000 and was told this was impossible, and that this institution's fees were "set by the arts council." I eventually renegotiated a £3000 fee only by arguing that other medium sized institutions were paying this amount for solo commissions. I was told that in the future the institution would re-examine their fees for artists.
non-binarywhite british
46
London
Smaller public art institutions, ie. Grand Union, Peer, Auto Italia, etc.
2015–present15004000
Large solo show for young developing artist, with contest to do event and opening/closing
9 months
Attending meetings, Presenting proposals, Time spent producing work, Production costs and materials, Production management, Installing the work and supervising install, Cost of studio space for production of the work
20-251-5NoNoNo
I feel as a young graduate that I was expected to be thankful for the exposure. I was often asked to pick up tasks where communications had fallen through in the small (but supportive) team. It felt like overworking was just a norm in London and one that I couldn’t keep up with especially with chronic illness. Sometimes I felt my boundaries where not respected.
Non binary White British No
47
Irish Museum of Modern ArtRepublic of Ireland
Large public institution ie. the Serpentine, Hepworth Wakefield, the Whitechapel, etc.
2015–present300100
Performance event whereby my role was to both curate and perform myself
1 week
Attending meetings, Presenting proposals, Research and development, Time spent producing work, Production management
26-301-5NoNoNo
The entire situation felt rushed - they approached me suspiciously close to the date they wanted the event and from the get home spoke about small budgets. I felt pressure to make a decision quickly. I felt in the long run it might look good for funding applications to have curated and performed at an event at IMMA so agreed even though I knew that I was being exploited along with the other artists I was inviting to perform. When I mentioned my concerns about the low fee, it was mentioned that this was just the start of my relationship with the institution and I would benefit from future commissions and support. It was two years ago and I have not heard from them since.
nonbinary White Irish No
48
TateLondon
Extra large national institution, ie. Tate, the V&A, the National Gallery, the National Gallery of Scotland, etc.
2015–20201506000One hour tour of exhibition4 hours
Research and development
51-6021-30NoYesNo
49
A London Council London
Publicly funded exhibition or project, i.e ad-hoc curatorial/artist-run projects supported through Arts Council or similar public funding bodies.
2015–present5000Not disclosedOutdoor commission
I will work on it at least for 6 months
Attending meetings, Presenting proposals, Research and development, Time spent producing work, Production costs and materials, Production management, Cost of studio space for production of the work, Wages for artists' assistants
41-5011-20NoNoNo
When the commissioner failed to pay the first installment (which arrived late, without any consideration of my work schedule or childcare arrangements) they asked me to get a credit car and pay myself for it.
FemaleWhite other Instillation
50
Serpentine Gallery London
Large public institution ie. the Serpentine, Hepworth Wakefield, the Whitechapel, etc.
2015–present10000
not disclosed and resistant to being asked
Large scale public commission 2 years
Attending meetings, Presenting proposals, Research and development, Time spent producing work, Production costs and materials, Production management, Installing the work and supervising install, De-installing the work and supervising de-install, Cost of studio space for production of the work, Wages for artists' assistants
31-405-10UnsureNoUnsure
I was made to feel guilty for asking what my production budget was because they told me they had prioritised my fee. The project timeline extended from the original delivery dates and the expectations for the project increased. There was still an opaqueness around budget the fee now works out at around £5,000 a year for a project I worked on full time.
femalemixedYes
51
Tate St IvesSouthern England
Extra large national institution, ie. Tate, the V&A, the National Gallery, the National Gallery of Scotland, etc.
2015–present600Approx £2000 Small solo project (6 weeks)
2 weeks (existing work with tweaks)
Attending meetings, Production management, Installing the work and supervising install
31-4011-20UnsureUnsureYesIt was a good experience on the whole. FemaleDon't know
52
Castlefield GalleryNorthern England
Smaller public art institutions, ie. Grand Union, Peer, Auto Italia, etc.
2015–2020200Not disclosed Group show 6 hours
Installing the work and supervising install
20-251-5NoUnsureUnsurePaid 3 months late Female
Mixed white British/Black African
53
Modern Art Oxford Southern England
Large public institution ie. the Serpentine, Hepworth Wakefield, the Whitechapel, etc.
2015–2020200N/AChairing a Talk Online 5/6 hours
Attending meetings, Delivering talk
26-301-5YesYesYes
I’ve been working professionally as an artist for five years and institutions in my experience mostly seem to have budget and interest in working with early career artists in relation to public programmes and socially engaged work which I’m much more frequently being contacted about compared to commissioning opportunities.
Female White / British
54
N/ALondon
Medium public institution ie. the Bluecoat, Towner Art Gallery, De la Warr Pavillion, etc.
2010–20141000N/aLarge solo show5 months
Attending meetings, Research and development, Production costs and materials, Production management, Cost of studio space for production of the work, Wages for artists' assistants
31-4011-20UnsureUnsureUnsureFemaleWhite British/IrishNo
55
TACOLondon
Smaller public art institutions, ie. Grand Union, Peer, Auto Italia, etc.
2015–20204000no production
fee for research and development time to propose and exhibition/commission/etc. This project will have a separated artist fee and production budget
2 months
Attending meetings, Research and development
41-5011-20YesYesYes
56
N/ASouthern England
Medium public institution ie. the Bluecoat, Towner Art Gallery, De la Warr Pavillion, etc.
2005–200905000
Huge solo/collaborative exhibition Major show
Solidly 18 months
Research and development, Time spent producing work, Production costs and materials, Production management, Installing the work and supervising install, De-installing the work and supervising de-install, Cost of studio space for production of the work
41-5021-30NoNoNo
The show was a fiasco. We were assured the exhibition would be toured, but wasnt. We were extremely let down with nothing coming from it generated by the venue
FemaleBritish Don't know
57
Eastside ProjectsMidlands
Medium public institution ie. the Bluecoat, Towner Art Gallery, De la Warr Pavillion, etc.
2015–present10002000
New work and research for group exhibition
20 days
Attending meetings, Presenting proposals, Research and development, Time spent producing work, Production costs and materials, Production management, Installing the work and supervising install, De-installing the work and supervising de-install, Cost of studio space for production of the work
41-5011-20YesYesYes
There was clarity about fees and production budgets from the beginning of the project so I knew what I was working with
femalewhite britishDon't know
58
N/ALondon
Large public institution ie. the Serpentine, Hepworth Wakefield, the Whitechapel, etc.
2015–2020200not disclosedone evening event4 months
Attending meetings, Presenting proposals, Research and development, Time spent producing work, Production costs and materials, Production management
26-305-10NoNoNofemalewhite british
59
N/ALondon
Smaller public art institutions, ie. Grand Union, Peer, Auto Italia, etc.
2015–present0
Squeezed just £150 for event involving several contributors, and negotiating covering basic costs was also unpaid work. Overall exhibition budget not disclosed.
Large collaborative exhibition with installation and additional live events
6 days +
Attending meetings, Research and development, Time spent producing work, Production management, Installing the work and supervising install, De-installing the work and supervising de-install, Cost of studio space for production of the work, Travel costs
31-4011-20NoNoNo
A public gallery funded by ACE which is linked to a university shouldn't exploit university staff or students for cheap, short notice exhibitions (2 months notice). They have an obligation through ACE to pay all artists.

In our case the way the exhibition was organised did not give any interface for contributors with the gallery itself, but came through an academic research co-ordinator, as an almost enforced 'desirable' opportunity for our fine art research group (all mature adults!) that we seemingly had to do. It was noticeable that there was funding mentioned for a publication, but nothing for contributors. The worst thing being personal finance was never acknowledged. The circumstances of this experience suggests the university and the gallery cooperate on last-minute REF submissions, and that practicing artists who happened to be students were recruited as a collective into the exhibition at their own cost, presuming they'd be happy to go along with it for their CVs. The affiliation between the collective and the institution was not acknowledged to the public either, and I really felt the personal cost in a very unequal large group dynamic. The blurred lines between public funding, academic research, income generation, 'practice based research' and free labour was infuriating and hard to speak out about without a union.

Additional sting: During an event install, in which we served as unpaid AV techs for an event led by 5 experienced artists, with a tech list shared in advance, the gallery director was overheard swearing in his office about us to a member of staff as we were running close to opening time while still setting up. We had all worked elsewhere during the day and were struggling and having to work around the public in the building, and in need of support rather than impatience. The event went really well, and the Director thanked us warmly at the end. Payments for items we hired then stuck in the bureaucratic system of University Finance, got the £150 back months later.
Some artists may have submitted them on an individual basis but collectively was not addressed
60
Manchester Metropolitan UniversityNorthern England
Publicly funded exhibition or project, i.e ad-hoc curatorial/artist-run projects supported through Arts Council or similar public funding bodies.
2015–2020500No idea
Production of work in relation to a research project - this involved attending 3 public meetings and making 3 works - one each in response to each meeting. The work was displayed on line.
I didn't work on it full-time but if I try to estimate it would be around 3 months.
Attending meetings, Presenting proposals, Time spent producing work, Production costs and materials, Cost of studio space for production of the work
60+11-20NoNoNoFemalewhite
61
N/ARepublic of Ireland
Smaller public art institutions, ie. Grand Union, Peer, Auto Italia, etc.
2015–20200750Small solo exhibition of paintings.5 months
Attending meetings, Time spent producing work, Production costs and materials, Installing the work and supervising install, De-installing the work and supervising de-install, Cost of studio space for production of the work, Travel to venue and accommodation
26-301-5NoNoNo
I feel the organisation exploited the desperation I felt at the time to exhibit my work and to legitimate my practice. They seemed very comfortable with not providing an artist's fee, and I didn't have the confidence at the time to questions this.
Female White
62
Baltic centre for contemporary art Northern England
Large public institution ie. the Serpentine, Hepworth Wakefield, the Whitechapel, etc.
2015–present250Not disclosed
Public workshop in painting and a presentation
2 weeks
Attending meetings, Presenting proposals, Research and development, Time spent producing work, Production costs and materials, Production management
20-251-5YesUnsureYesThe baltic paid me fairly in my opinion Female WhiteNo
63
Central Saint Martins, Window GalleriesLondon
Medium public institution ie. the Bluecoat, Towner Art Gallery, De la Warr Pavillion, etc.
2015–20200
0, use of equipment for install.
Installation across the two window galleries, accomanying performance.
6 days
Attending meetings, Research and development, Time spent producing work, Production costs and materials, Production management, Installing the work and supervising install, De-installing the work and supervising de-install, Wages for artists' assistants, Payment of performers
26-305-10NoNoNoCurators and technicians were encouraging and helpful, but we were not paid.FemaleWhite
64
Westminster CouncilLondon
Extra large national institution, ie. Tate, the V&A, the National Gallery, the National Gallery of Scotland, etc.
2015–present2005000
We were chosen for the Westminster Void Space activation project. As part of the application our collective proposed an ambitious series of shows that would include over 40 individual emerging artists and collectives. As part of the very long application process we were asked for a budget, a timescale and a very detailed install plan. We provided all information, communicating to the artists we were collaborating with the few structure and running plan. The project promised 4 weeks in a central London location and a budget of £5000. We were excited to hear more when the news came through that we had been awarded the commission. From then on we were ghosted, passed around the department, lied to, and eventually we were offered half the space for half the time, a month after the agreed date. We were also given 1 day (a Sunday) to install the show. We refused and we were never given another alternative. Westminster told us that the budget was linked to the space so even though we had gone through weeks of organisation, communication and disappointment we were left with nothing and we were not going to be reimbursed for our time. Awe had promised money and a space to all the artists involved and we eventually had to tell them that the project was not going ahead. Westminster refused to even write us an explanation email to take the heat off our young organisation. Throughout the process they were rude, dismissive and poorly organised. The collective never really recovered and our reputation was severely damaged
1 year
Attending meetings, Presenting proposals, Production management, Wages for artists' assistants
31-401-5NoUnsureNo
Make (part of an even male/female queer inclusive collective)
White British (part of a multicultural collective)
No
65
Rushmoor Borough CouncilSouthern England
Publicly funded exhibition or project, i.e ad-hoc curatorial/artist-run projects supported through Arts Council or similar public funding bodies.
2015–present800Not disclosedOutdoor window commision 1 month
Attending meetings, Presenting proposals, Research and development, Time spent producing work, Production costs and materials, Production management, Installing the work and supervising install, De-installing the work and supervising de-install
31-405-10NoYesUnsureFemaleWhite British Don't know
66
N/aSouthern England
Large public institution ie. the Serpentine, Hepworth Wakefield, the Whitechapel, etc.
2015–present400Not disclosedPublic workshop5 hrs
PUblic liability insurance: higher requirement than other place
41-501-5NoYesNo
Pubic liability Insurance was higher than expected and any other similar organisations (museums). It wasn’t discussed in negotiations, so the requirement came as a shock and cost half the fee. Higher than organisations like a-n provide etc.
F
67
N/ALondon
Smaller public art institutions, ie. Grand Union, Peer, Auto Italia, etc.
2015–present2500
Public exhibition and programming.
6 months
Attending meetings, Time spent producing work, Production costs and materials, Production management, Installing the work and supervising install, De-installing the work and supervising de-install, Cost of studio space for production of the work, Wages for artists' assistants
20-251-5NoNoNo
They were able to gain more than me. I dipped into my own pocket to make sure technicians and programming guests were paid while the gallery offered me only £250 to cover production.
n/aBlackDon't know
68
ArtangelLondon
Large public institution ie. the Serpentine, Hepworth Wakefield, the Whitechapel, etc.
2015–present1000016000Major solo commission5 months
Attending meetings, Presenting proposals, Research and development, Time spent producing work, Production costs and materials, Production management, Installing the work and supervising install, De-installing the work and supervising de-install, Cost of studio space for production of the work
41-5011-20YesYesYes
I was offered 25% of the fee up front as a research and development fee. I've never been offered this before and it meant i could commit fully to the project with some financial security and some funds to invest in developing my ideas.
Femalewhite britishDon't know
69
N/ANorthern England
Large public institution ie. the Serpentine, Hepworth Wakefield, the Whitechapel, etc.
2015–present00
Solo commission to create an artists film installation, exhibited over 3 months within the galleries.
One year (daily)
Attending meetings, Presenting proposals, Research and development, Time spent producing work, Production costs and materials, Production management, Installing the work and supervising install, Cost of studio space for production of the work, Wages for artists' assistants, Wages for collaborators
31-4011-20NoNoNo
I was never offered a fee, production budget or any financial support to create the work despite the fact the institution would benefit from screening the work. It was expected that the Arts Council Project Grant (which I applied for by myself) would be enough. The institution offered nothing.
N/AN/ANo
70
N/AMidlands
Publicly funded exhibition or project, i.e ad-hoc curatorial/artist-run projects supported through Arts Council or similar public funding bodies.
2015–20201000Not disclosed 3K?
Exhibition of photo and moving image works in a University space. Also involved delivery of several days teaching and preparation over two years.
45 days
Attending meetings, Presenting proposals, Research and development, Time spent producing work, Production costs and materials, Production management, Installing the work and supervising install, De-installing the work and supervising de-install, Cost of studio space for production of the work, teaching students about and throughout the process. Marketing and text overview. Documentation of the work in situe.
51-6021-30NoNoNo
I got some Arts Council funding to cover some of the material costs and to pay other artists involved through my invitation.
FemaleWhite British
71
Southern England
Publicly funded exhibition or project, i.e ad-hoc curatorial/artist-run projects supported through Arts Council or similar public funding bodies.
2015–2020300Not disclosedSolo exhibition of new work 2 months
Attending meetings, Time spent producing work, Production costs and materials, Installing the work and supervising install, Cost of studio space for production of the work
20-251-5NoUnsureNo
ACE funded exhibition at a project space. Disturbing that ACE encourages / forces applications that pay artists / other participants so little due to funding being spread so thinly.
FWhite British
72
WellcomeLondon
Large public institution ie. the Serpentine, Hepworth Wakefield, the Whitechapel, etc.
2015–202050005000four commissioned works1 year
Attending meetings, Presenting proposals, Research and development, Time spent producing work, Production management
41-5011-20UnsureUnsureUnsurenon binarywhite british
73
CollectiveScotland
Medium public institution ie. the Bluecoat, Towner Art Gallery, De la Warr Pavillion, etc.
2015–20202000not disclosedPerformance commission2 - 3 months
Research and development, Time spent producing work, Cost of studio space for production of the work
31-405-10YesNoYesFemalewhite
74
Talbot RiceScotland
Medium public institution ie. the Bluecoat, Towner Art Gallery, De la Warr Pavillion, etc.
2010–20141000not disclosed
Group exhibition but solo presentation over 3 rooms
4 months
Attending meetings, Presenting proposals, Research and development, Time spent producing work, Installing the work and supervising install, Cost of studio space for production of the work
26-301-5NoNoNoFemaleWhite
75
n/aLondon
Large public institution ie. the Serpentine, Hepworth Wakefield, the Whitechapel, etc.
2010–20140£15,000Major solo exhibition12 months(no fee)31-405-10NoNoNo
When I requested a fee I was told this would have to come out of the production budget, which we had already confirmed was not enough to cover the cost of producing the show
she/theywhite britishDon't know
76
Cample LineScotland
Smaller public art institutions, ie. Grand Union, Peer, Auto Italia, etc.
2015–202030003000Solo exhibition 6 months
Attending meetings, Research and development, Time spent producing work, Installing the work and supervising install, Cost of studio space for production of the work
41-5021-30YesYesYesI felt supported and expectations realisticFemaleWhite
77
Freelands Foundation London
Large public institution ie. the Serpentine, Hepworth Wakefield, the Whitechapel, etc.
2015–present300300
Outdoor commission that was then moved to indoor, as part of a group show
5 days
Attending meetings, Presenting proposals, Research and development, Time spent producing work, Production management
31-405-10NoNoNo
We were asked to present ideas for a group show that was the culmination of a two year development programme. We proposed designing a work for the outside space, which developed into seating. We repeatedly asked for production budget but were told that it would be unfair on the other artists in the show to disclose it. We commissioned an artist to support us with the design, a fabricator to quote for the work, and did several days research, taking into account health and safety, insurance etc. When we went back with the designs we were still not given a budget. It wasn't until the fabricator came back with real costings that we were told the costs we three times what the budget was (again, still being given no firm figure as to what the production budget was). The project was cancelled, with no payments to the designer or to us for our time.
Female White Welsh No
78
London
Extra large national institution, ie. Tate, the V&A, the National Gallery, the National Gallery of Scotland, etc.
2015–20206000
£120k but they raised additional money later
Major indoor commission 2 years
Attending meetings, Presenting proposals, Research and development, Time spent producing work, Production management, Installing the work and supervising install, De-installing the work and supervising de-install, Cost of studio space for production of the work, Wages for artists' assistants, Writing press, poster designs, making signage, writing wall panels,
31-40Tate NoNoNo
I raised the issue of the low fee (relative to the profile of the commission, the workload and the duration of the project) and was told I was lucky as previous artists had received less
Female White British
79
TateNorthern England
Extra large national institution, ie. Tate, the V&A, the National Gallery, the National Gallery of Scotland, etc.
2015–20201000Performance2-3 days
Research and development, Time spent producing work
26-305-10NoNoUnsure
The curator was aloof and arrogant at best, they took six months and three emails to pay the flimsy amount
80
N/ANorthern England
Medium public institution ie. the Bluecoat, Towner Art Gallery, De la Warr Pavillion, etc.
2015–20201500not discloseddevelopment period2 months
Attending meetings, Presenting proposals, Research and development, Time spent producing work, Production costs and materials, Production management, Installing the work and supervising install, De-installing the work and supervising de-install, Cost of studio space for production of the work, Wages for artists' assistants
20-251-5NoNoNo
We only got the money because there was two of us - double the work for half the price.
white british
81
N/ALondon
Medium public institution ie. the Bluecoat, Towner Art Gallery, De la Warr Pavillion, etc.
2015–present1000N/ASolo Show5 months
Attending meetings, Research and development, Production costs and materials, Production management, Installing the work and supervising install, Wages for artists' assistants
31-4011-20UnsureUnsureUnsurefemale
White Irish and British
Don't know
82
Castlefield gallery Northern England
Smaller public art institutions, ie. Grand Union, Peer, Auto Italia, etc.
2015–202001000Curating gallery wide group show 1 month
Attending meetings, Presenting proposals, Research and development, Time spent producing work, Production costs and materials, Production management, Installing the work and supervising install, De-installing the work and supervising de-install
20-251-5NoNoNoFully budget spent on production Female
Mixed white British/Black African
83
N/ANorthern England
Large public institution ie. the Serpentine, Hepworth Wakefield, the Whitechapel, etc.
2015–present200
Offered £20 for a public workshop which lasted 1 hour.
N/A
Research and development, Production costs and materials
31-405-10NoNoNo
Am embarrassing and awkward experience, I refused to work for that amount and asked for artist Union England rates of pay. Was shocked that was a fee offered by a curator.
Don't know
84
Cooper GalleryScotland
Medium public institution ie. the Bluecoat, Towner Art Gallery, De la Warr Pavillion, etc.
2015–2020600100performance commission1 month
Presenting proposals, Research and development, Time spent producing work, Installing the work and supervising install, Cost of studio space for production of the work
31-405-10NoYesYesFemaleWhite
85
SLGLondon
Medium public institution ie. the Bluecoat, Towner Art Gallery, De la Warr Pavillion, etc.
2015–202050Not disclosed
One hour presentation and workshop
2 hours
Time spent producing work, Production costs and materials
20-251-5YesYesNo
86
Chisenhale GalleryLondon
Large public institution ie. the Serpentine, Hepworth Wakefield, the Whitechapel, etc.
2015–2020300Not disclosedSound commission-online piece4 weeks
Attending meetings, Research and development, Time spent producing work, Production costs and materials
31-401-5UnsureUnsureUnsureThis was arguably my first solo work with an institution like thisCis het maleEast Asian
87
Arts council funded project organised by curator duo
London
Publicly funded exhibition or project, i.e ad-hoc curatorial/artist-run projects supported through Arts Council or similar public funding bodies.
2015–present160Not disclosed Group show40 days
Attending meetings, Presenting proposals, Research and development, Time spent producing work, Production costs and materials, Production management, Installing the work and supervising install, De-installing the work and supervising de-install, Cost of studio space for production of the work, Create work for publication and invigilating for 2 days
26-301-5NoNoNo
Originally all the artists we asked to pay to be part of the exhibition. I wrote to them to say this was not acceptable and they should not go ahead with the exhibition without funding to hire the space themselves as curators. We were then offered at £160 installation fee each. The curators exploited my generosity in helping other artists technically during install- I practically became the shows technician during install days. The curators also asked for outrageous favours including asking me to deliver work in my car after the de-install. They exploited all of the artists good-will to prop up what felt like a vanity project.
Female White British & Irish Don't know
88
NANorthern England
Smaller public art institutions, ie. Grand Union, Peer, Auto Italia, etc.
2015–2020125NAOutdoor workshop10 hours
Travel cost (petrol £20), food and water, any preparation for the workshop like making colouring in sheets
31-401-5UnsureNoNo
When we were working outside in Newcastle city centre I got racist comments and was called a monkey. My colleagues didn’t care. My co worker had homophobic comments, they reacted to that by getting security.
FemaleAsian
89
Tate ModernLondon
Extra large national institution, ie. Tate, the V&A, the National Gallery, the National Gallery of Scotland, etc.
2010–20140Not disclosedLarge group exhibition 2 months
Attending meetings, Research and development, Time spent producing work, Production costs and materials, Production management, Cost of studio space for production of the work, Wages for artists' assistants, Travel and accommodation
31-405-10NoNoNo
I have produced a large work for an internationally touring group exhibition organised by an extra large UK institution and have never been offered or paid the production costs, travelling or accommodation costs, any fees whatsoever. I have been told by the curators that they intend to acquire the work, which was later officially confirmed by an email. After the touring exhibition ended (app. a year, 3 extra large international institutions) I have been informed that they won’t acquire the work anymore, but I am free to donate the work, which I refused. I have never requested to be paid in any form as I was too young and intimidated by the scale of the institution. The curators never offered a compensation in any form, but gave me the feeling that my work will be acquired for the collection.
FemaleEastern European
90
N/ALondon
Smaller public art institutions, ie. Grand Union, Peer, Auto Italia, etc.
2015–20203500not discloseda year long commission6 months
Attending meetings, Presenting proposals, Research and development, Time spent producing work, Production costs and materials, Production management, Installing the work and supervising install, De-installing the work and supervising de-install, Cost of studio space for production of the work
26-305-10NoNoNofemalewhite british
91
N/AMidlands
Medium public institution ie. the Bluecoat, Towner Art Gallery, De la Warr Pavillion, etc.
2015–present1500XLarge solo show8 months
Attending meetings, Research and development, Time spent producing work, Production costs and materials, Installing the work and supervising install, Cost of studio space for production of the work, Wages for artists' assistants
31-4011-20NoNoNo
I was expected to attend all lengthy meetings, research, produce, pack and install a major show on a small fee. There was no acknowledgment that I was a team of one being paid pennies, whereas they were an extended team being paid a daily rate. The demand on my time beyond producing the show was huge - I was exhausted, strung out and frustrated. Small fees and huge workload were not acknowledged.
FemaleDon't know
92
N/ASouthern England
Medium public institution ie. the Bluecoat, Towner Art Gallery, De la Warr Pavillion, etc.
2015–2020300 Not disclosed
Creation of a downloadable online arts activities document for Arts Festival Family Education.
6 days
Attending meetings, Presenting proposals, Research and development, Time spent producing work
41-505-10NoNoNo
I was told the pay was for 2 days full time work and that was £150 per day. The organisation is an ACE NPO, it is also a membership organisation for Artists in the region it is based. I have noticed many artist pay inequalities and inconsistencies with some artists being paid for their work at a higher rate than others despite having the same years of experience. When this has been questioned the response has been “They are my friend”. Each artist is required to pay the same membership fee but there is a discrimination on which artists receive a proper daily fee for work
Commissioned. The organisation is a
NPO and yet it does not adhere to ACE guidelines on artists daily rate. How are they getting away with this and not being checked by ACE. I have now left the organisation and will never work with them
Again although this is a frightening move as they influence most of the Art organisations in the South West.
Female White/Ethnic mix
93
Barbican Centre/Tate /National GalleryLondon
Extra large national institution, ie. Tate, the V&A, the National Gallery, the National Gallery of Scotland, etc.
2005–2009275Not disclosed
I worked across several galleries on freelance fees from £175-£500 per day on large scale public engagement events. Sometimes they would be for 1000+ participants, often antisocial hours.
At several points the terms/conditions & pay way attempted to be renegotiated as the project got closer to the end day and the budget started to run out.
The Tate one made me wait 9 months for a cheque. They also tried to renegotiate a £500 fee to £50 which didn’t cover my expenses to get there let alone the time and materials I created. Their justification was that they could get a volunteer or intern to do it at no cost, but after I had submitted the work, but before the 28days of invoice processing. I created materials for them they still use now, 20 years later.
The Barbican was a model employer until a change of management & huge austerity cut led redundancies. I was illegally not paid maternity pay, my maternity form was rejected 3 times ( every 3 months) . You have 3 moths to raise a maternity discrimination dispute with a union. They may offer to resolve this when you return to work after maternity leave . Once returned they can make your redundant 3 months minus a day from your return date. This would not be classed as maternity discrimination. They may offer you a payment with a NDA.
The National Gallery has huge issues as seen documented in the press. Personally, I worked on a pilot project that was dropped as there was a change in department management and the budget was taken elsewhere. I was mid way through completing the paperwork, they wanted it completed for a funding deadline, but didn’t want to pay me for the project. This was heartbreaking. I completed the work as I need a reference moving forward.
I worked in London Galleries 1998-2010
Attending meetings, Presenting proposals, Research and development, Time spent producing work, Production costs and materials, Production management, Installing the work and supervising install, De-installing the work and supervising de-install, Cost of studio space for production of the work
26-305-10NoNoNo
I worked for most leading London galleries 1998-2015. I had some incredible experience working on some wonderful projects which were career highlights. I also had some truly heartbreaking & traumatic experiences and have seen how these institutions silence artists with the threat of classifying them as ‘difficult’ , to non payment, to NDA.
My experience good or bad I would be able to pinpoint to specific management by individuals within a department. Mostly artist work as freelancers. I worked as both employed & self employed and saw how these departments worked from the inside.
My experience is that you are vulnerable to the whims of each manager & their budget. Best practice is to pay flat fee artist rates and expenses as appropriate. Some galleries operate on a tiers system of payment. Many pay what they feel they can get away with. Massive amounts of budgets are swept into other pots within the institution.
I worked across several galleries on freelance fees from £175-£500 per day on large scale public engagement events. Sometimes they would be for 1000+ participants, often antisocial hours.
At several points the terms/conditions & pay was attempted to be renegotiated as the project got closer to the end day and the budget started to run out.
The Tate once made me wait 9 months for a cheque. They also tried to renegotiate a £500 fee to £50 which didn’t cover my expenses to get there, let alone the time and materials I created. Their justification was that they could get a volunteer or intern to do it at no cost, but after I had submitted the work, but before the 28days of invoice processing. I created materials for them they still use now, 20 years later.
The Barbican was a model employer until a change of management & huge austerity cut led redundancies. I was illegally not paid maternity pay, my maternity form was rejected 3 times ( every 3 months) . You have 3 moths to raise a maternity discrimination dispute with a union. They may offer to resolve this when you return to work after maternity leave . Once returned they can make your redundant 3 months minus a day from your return date. This would not be classed as maternity discrimination. They may offer you a payment with a NDA. Personally, I had advance booked childcare with associated costs, had not been paid maternity pay, and had been pressured to return to work before my maternity leave was over. The financial & emotional cost was huge. I had always considered it a dream job.
The National Gallery has huge issues as seen documented in the press. Personally, I worked on a pilot project ( pilot year plus 5 years of project ) that was dropped after the successful pilot as there was a change in department management and the budget was taken elsewhere. I was mid way through completing the paperwork, they wanted it completed for a funding & press deadline, but didn’t want to pay me for the project. This was heartbreaking. I completed the work as I need a reference moving forward. I felt held hostage by my professionalism.
It is a highly competitive industry with many highly qualified professionals that care about their reputations. I feel that a lot of galleries take advantage of this. I feel I am at liberty to speak up as I won’t be identified here.
FemaleWhite otherSometimes
94
N/ALondon
Smaller public art institutions, ie. Grand Union, Peer, Auto Italia, etc.
2010–201450I wasn't told
Small scale production as it was being shown in an artfair as part of their booth
I worked roughly 2 months on the work exhibited
Time spent producing work, Production costs and materials, Cost of studio space for production of the work
31-4011-20NoNoNo
I was told I should've been grateful fir them to show my work. In several emails I asked about financial details, they all were ignored. When I expressed that the money I received wasn't what it was arranged they mentioned for how long they had been in the business and how many successful artists they represented and basically treated like a dog.
FemaleOther whiteNo
95
TATELondon
Extra large national institution, ie. Tate, the V&A, the National Gallery, the National Gallery of Scotland, etc.
2015–20202500106,000major outdoor commission7 months
Attending meetings, Presenting proposals, Research and development, Time spent producing work, Installing the work and supervising install, De-installing the work and supervising de-install, Cost of studio space for production of the work
41-5011-20NoNoNo
I raised the issue of the very small fee in relation to the scale and workload and complexity of the project and was told that there was no way to increase it and there was zero interest from the senior staff to reconsider.
femalewhite British
96
Scottish National Gallery of Modern ArtScotland
Extra large national institution, ie. Tate, the V&A, the National Gallery, the National Gallery of Scotland, etc.
2015–2020500not disclosed
Group exhibition, solo presentation
1 month
Research and development, Time spent producing work
31-405-10UnsureNoNoFemaleWhite
97
Tate Britain London
Extra large national institution, ie. Tate, the V&A, the National Gallery, the National Gallery of Scotland, etc.
2015–present1000Full budget not disclosed Large solo show of new work 1 year full time
Attending meetings, Research and development, Time spent producing work, Production costs and materials, Production management, Installing the work and supervising install, Cost of studio space for production of the work, Wages for artists' assistants
26-305-10NoNoNoFemale White British Don't know
98
TramwayScotland
Large public institution ie. the Serpentine, Hepworth Wakefield, the Whitechapel, etc.
2015–202030005000
A solo exhibition in Tramways main space
1 year
Attending meetings, Research and development, Time spent producing work, Production management, Installing the work and supervising install, De-installing the work and supervising de-install, Cost of studio space for production of the work, Wages for artists' assistants
31-405-10NoNoNo
As it states on their website ‘ Tramway 2 is one of the largest single galleries in Europe, approximately 1011 square metres in size’ - with this in mind £5000 production budget is quite small. I was expected to make an application to creative Scotland for extra support to cover production. I did not receive any support to make the lengthy application.
Female White British
99
N/aMidlands
Smaller public art institutions, ie. Grand Union, Peer, Auto Italia, etc.
2015–present200Not disclosed
Commission to design and lead a 90 minute workshop online via zoom
20 hours The workshop20-251-5NoUnsureNo
This was funded by several art organisations across England. I met 3/4 times with the institution before leading the workshop. The workshop was designed from scratch. I was told the fee was £160 and then £40 was offered as a ‘bonus’ after I finished the workshop, I was told it was because of my efforts and resources. I felt good, but friends then told me it was low to begin with.
WomanWhite Don't know
100
16 Nicholson Street Gallery CICScotland
Publicly funded exhibition or project, i.e ad-hoc curatorial/artist-run projects supported through Arts Council or similar public funding bodies.
2015–present10001800
Group show - medium sound installation piece + photography and extra pieces
1.5 Month
Attending meetings, Presenting proposals, Research and development, Time spent producing work, Installing the work and supervising install, De-installing the work and supervising de-install
26-305-10UnsureYesYes
Non-British, loving in Scotland
Yes