Arts administrators are in service to the art, the artists, and the community.
Any other approach means you’re doing it wrong.

Originally published in 2020

I have partnered with incredible institutions as an artist…and some rotten apples. As a small business owner of a sole-proprietorship, there are amazing benefits to partnering with large arts organizations, commercial companies, or educational institutions. But, there are a few issues that happen from time to time. Yes, even museums and galleries can make mistakes when working with artists! In a few cases, the places I partnered with were excellent and this advice is directly inspired by their professionalism. In other instances, there were missteps on their part that I hope to never live through again. Here are a few hard lessons I’ve learned regarding artists collaborating with larger establishments.

I know several places where I have worked, behind the scenes and as a freelance artist, still snoop and swoop my ideas to this day…since you’re here, take a seat and learn something.

Important Note: The nature of how many institutions, companies, and establishments operate has supposedly changed since the COVID-19 pandemic and quarantine beginning in Spring 2020. Though the nature of live opportunities has shifted, business must go on and this guide is still helpful to me. Hopefully, it will be for you too!

Have a Pleasant Day
-Rae Pleasant

Marketing

I've worked with several establishments that did not market our collaboration effectively or at all. The establishment should be actively marketing the collaboration, otherwise what is the point for either party? Larger establishments have an entire team dedicated to marketing and they hold a much bigger audience with longstanding loyalty. For a local artist like myself, these collaborations are crucial exposure. Marketing myself feels braggadocios, so it's easier to offload the trumpets and confetti throwing to someone else. And, considering a marketing team at an institution gets a salary for being full-time cheerleaders, they should really do their job. Promoting diversity and inclusion starts with visibility. Don’t render me invisible if I’m hired as an artist at your institution.

Mutual Business Benefits

Other than a sporadic paycheck, I would like my collaborations with establishments to springboard a deeper business relationship. Forging a lasting business relationships is the best outcome when partnering with artists.

Professionalism

Sometimes, arts administrators are entitled and rude when not being overly personal and childish. It's best if the staff within an establishment are professional towards me at all times if I am hired as an artist. I tend to compartmentalize my work life from my personal life and while art is deeply personal, it's now my job. The application process I have to go through to secure these opportunities can be extensive and that should be matched with an equally professional experience once I'm hired. Sure, artists work in paint splatted t-shirts and ripped jeans, but the operative word is WORK. I've had to shut down so much giggling, gossiping, and extended chatting on various jobs because I had work to do and it wasn’t being taken seriously. Before becoming an artist, I spent my time behind the scenes deep in an archive or in the basement of a museum. Unless I'm mad, I'm pretty chill and quiet. So, my challenge is balancing the social aspects of art with the professional responsibilities of a job.

Payment

Checks should be delivered on time and ideally advanced payments should be remitted. There have been times in my life when I didn't have traditional banking or living situations, so being paid in cash with documentation saved me! Anytime I have completed a W9 or 1099, I've had to go to a print shop or the library, find the form online, print it, then scan it back or delivery it in person. But, the establishments I've partnered with have printers in their office and they should have offered me a form on the spot! My lesson learned is that I now keep my own tax forms on file for the current year, ready to go, because I cannot count on an arts administrator to be that prepared.

Display the Art

This sounds like a given, but you would be surprised how many times my artwork was not displayed in the establishment during our collaboration. Ideally, the display could be for a substantial period of time beyond the collaboration. What is the point of collaborating with an artist if their artwork is not on view? Even museums and art centers have made this mistake creating an unfortunate hierarchy of value between international artists and locals. I now bring my artwork with any fixtures I need to display it and plop it right down! **Clip Art** I was once hired to do a workshop at an art gallery and I wrote a lesson plan for the event. I submitted original, hand-drawn templates for the guests to use in embroidery. But, the museum literally hid my templates on a back table and printed out internet clip art in its place without telling me. I walked into the workshop early, saw clip art all over the table, and had to SEARCH and ask around for my art. WTF. As a solution, I allowed guests to choose between the clip art and my templates.

Stealing the Art

There have been several instances where my artwork or supplies have been taken or hidden from me. I’ve had to follow people out to parking lots and ask for my things back. I’ve had to pop back into places unannounced where they claimed my art was ‘missing’ to find it hanging on the wall for sale. I’ve been told my artwork was on permanent display only for it to be sold or go missing. I’ve had to send emails and make phone calls. These experiences have made me reevaluate showing my work in someone else’s establishment. I now focus on showing my artwork online in my private Instagram @pleasantfolk or here on my private blog PF Broadcasting.

Artist ’Communities’

Nearly every opportunity I’ve witnessed designated for artists has a phrase about the establishment’s mission to create a collaborative and communal environment for artists. I do not understand why this is a standard that outsiders push onto individual artists. Many artists work alone and have strong introverted tendencies, so a communal environment is not necessarily what is best for them personally or professionally. For others, human interaction is exactly what they crave after being alone in a studio for so long. But, you typically don’t know who the other artists are until you arrive at the establishment’s venue, so how can collaboration come from a complete stranger with whom you are assigned to interact. There is an obvious safety factor as well, their behavior or personality could be bigotted or predatory and you’re stuck in an uncomfortable or dangerous situation. Most importantly, intellectual property theft is a huge issue in the arts and, in my opinion, laws are not up to speed. Protecting my work in progress from other artists is very important until I can secure copyright certificates. This is one reason I moved my artwork and writing behind a paywall on my website. For me, handling the establishment’s staff, teaching workshops or classes, and handling customers is enough human interaction that sharing working, dining, and living spaces with other artists could be an overload. In all my travels and adventures, taking time alone has been a huge trigger for others that want access to ‘play’ with me whenever they like. Going into my room, eating in silence, or taking a walk alone should be a basic and respected personal boundary, but it was often misunderstood. Artists don’t always need to be crowded up into communal spaces every time there is an opportunity advertised online! I’d like to see a greater variety of solo opportunities or collaborations across other disciplines.

‘Community’ as Marketing Strategy

Too many establishments use artists as a marketing ploy and then call it a ‘community’ event. The expectation is that the artist will bring their followers to the establishment and gain for the company customers and revenue. Artists went from relying on galleries to build up their fanbase and make sales to using social media to gain their own followers and sell directly to them. Establishments seek to take advantage of artists to bring the big crowds, but social media followers don’t always equate to real-life participation or sales. So, establishments need to market these events using their in-house PR teams.

In another sense, establishments use the word ‘community’ to mean progressive and strategic improvements to a neighborhood, town, or city. Lofty expectations of saving, enriching, or bringing together entire neighborhoods, town, and cities fall on the artist hired by an establishment to do the work of a Mayor’s office. Large-scale community saving is not the job of an artist. Artists are PART OF the community, and should not be the pied-pipers.

Art and Alcohol

It is possible for establishments to partner with artists without alcohol and you'd be delighted at the depth of community and conversation that is maintained. There are times when it's understandable to include alcohol like outdoor or day long events. But, many times the alcohol consumption takes center stage and the artist is neglected. One thing I have to remember is that most art events are a social gathering for other people who came to drink and have fun. I'm there working and they are socializing, so my challenge is remaining patient and relaxing a bit myself.

Artist in Charge

For the time I'm contracted by the establishment, I like to maintain control over my project and presentation. An artist, especially a diverse artist, is not a puppet nor a gold star on a bulletin board. Most of us are experienced with children, supplies, set up/strike, public speaking, administrative tasks etc. In shorter terms, most artists are self-sufficient professionals that should not be insulted with micro-management. Artists waste so much time bickering with the office staff of an establishment or pushing against stale, counterproductive rules. There are times when the artist should be able to delegate what needs to be done and the staff of the establishment should comply. Most artists are not difficult. Staff and administrators can be entitled and resent listening to artists, resulting in tension and wasted time.

Bait-and-Switch

Several art jobs or gigs I have held misrepresented their expectations or offerings. Other times, major aspects of the arrangement were added or reneged. This is a bait-and-switch or an outright scam. No artist should undertake partnerships or projects unless there is written documentation like a contract or an email. Even with documentation, I have been yanked around with lies, glass ceilings, and false promises. Generally speaking, I am not obligated to reach standards that have been misrepresented. I have to make a living and scams or bait-and-switches are not sustainable. I'm very good at calling out scams and walking away, but this has gotten me labelled as threatening or difficult. Saving myself from being misused meant burning bridges.

Burning Bridges

The artist is not the one who lit the fire if they have been scammed or disrespected by the establishment. Most artists are pegged as ‘difficult’ when they won’t let anyone take advantage of them. There have been times when I ask someone to sign a contract...that I took time to write myself...and I was accused of being shady. On what planet is a transparent contract, budget, invoice, and project proposal shady?! That kind of accusation is inappropriate and it means I was underestimated. I've been accused of stealing things that aren't missing and I've been labelled as a threat to someone's life for the tone of an email. As an African American woman, these are toxic and dangerous situations that should have never escalated to such a toxic intensity. I've burned such bridges just to make sure I never felt tempted to cross them again.