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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?
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)
2
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
3
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
4
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
5
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
6
Tate BritainLondon
Extra large national institution, ie. Tate, the V&A, the National Gallery, the National Gallery of Scotland, etc.
2015–20202306000
Public drop in workshop (3 hours)
4 hours
Research and development, Wages for artists' assistants
20-251-5NoUnsureYes
7
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
8
CollectiveScotland
Medium public institution ie. the Bluecoat, Towner Art Gallery, De la Warr Pavillion, etc.
2010–20141500Not disclosedLarge outdoor commission 3 months
Presenting proposals, Research and development, Time spent producing work, Production management, Cost of studio space for production of the work, Documentation, both photographic and video. Talks, interviews and events relating to the commission.
31-405-10NoNoNoAlmost had a nervous breakdownFemaleWhite British
9
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
10
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
11
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
12
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
13
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
14
N/ARepublic of Ireland
Smaller public art institutions, ie. Grand Union, Peer, Auto Italia, etc.
2015–20200750
Small 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
15
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
16
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.
17
N/ALondon
Extra large national institution, ie. Tate, the V&A, the National Gallery, the National Gallery of Scotland, etc.
2015–202090N/APerformance evening4 days
Research and development, Time spent producing work, Production costs and materials
20-251-5UnsureUnsureUnsure
The artists fee of £90 was my share of a budget given to a group of artists split 5 ways
FemaleWhite
18
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
19
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
20
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
21
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
22
Hayward GalleryLondon
Large public institution ie. the Serpentine, Hepworth Wakefield, the Whitechapel, etc.
2015–20202502000
New commission for the British Art Show
6 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, Statements, biogs, image supply, web contribution, publication and website reviewing etc
41-5011-20NoNoNo
I told the curators that it was not a fee but a gesture and they agreed with me
Female White British
23
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
24
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
25
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]
26
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
27
Transmission Gallery Scotland
Publicly funded exhibition or project, i.e ad-hoc curatorial/artist-run projects supported through Arts Council or similar public funding bodies.
2010–201410001500Solo exhibition 4 months
Research and development, Time spent producing work, Production management, Installing the work and supervising install
31-405-10YesYesYes
28
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
29
Modern Art OxfordSouthern England
Medium public institution ie. the Bluecoat, Towner Art Gallery, De la Warr Pavillion, etc.
2015–202010000approx 30000major new commission6 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
41-5011-20YesUnsureUnsure
The fee was not offered, but when I requested this due to the scale of the project the director agreed.
30
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
31
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
26-305-10NoNoNo
Curators and technicians were encouraging and helpful, but we were not paid.
FemaleWhite
32
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
33
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
34
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
35
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
36
Castlefield gallery Northern England
Smaller public art institutions, ie. Grand Union, Peer, Auto Italia, etc.
2015–202001000
Curating 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
37
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)
38
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
39
Chisenhale GalleryLondon
Large public institution ie. the Serpentine, Hepworth Wakefield, the Whitechapel, etc.
2015–2020300Not disclosed
Sound commission-online piece
4 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
40
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
41
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
42
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
43
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
44
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
45
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
20-251-5UnsureUnsureUnsureFemale
White British + Irish
46
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
47
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
48
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
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