Article by Karen Atkinson 22 feb 2011
The discussion of ethics in the art world has come up numerous times recently. Since all participants have a stake, I am going to start with my suggestions for artists. In another post, I will discuss ethics for other participants.
Having worked on just about all sides of the fence in the art world, I can say that I have run across the most amazing things being done to artists, as well as things artists do to each other. In the vertical career trajectory, climbing the ladder is taken very seriously by those climbing. Those at the top have to watch who is climbing up behind them, as well as who they are trying to step over to get to the very top. There are only so many options for getting to the top of one's career by the standards set up by the gate keepers. Gate keepers have their own set of rules to climb by. With everyone rushing to the top, and with only so many slots to fill, ethics often get overlooked. Here are some things I see often, and want artists to consider when making certain choices of how to proceed.
Jacob's Ladder, William Blake
Treating Colleagues With Respect
Contrary to what some artists believe, curators, galleries, funders and the art world are not merely a support structure. They are, rather, partners in your creative pursuit. One unflattering aspect of many artists is their attitude of entitlement. They think the world "owes" them support, but it is simply not true.
If you are perceived as self important, you may get a reputation as difficult to deal with, and curators will lose interest, even if your work is strong. Respect their space. They have opinions and ideas of their own, and are not in the business of giving deference to ego.
Having good relationships with colleagues is important, and a collaboration is much more gratifying for both parties. Listen to what others have to say, and consider your role in the relationship.
Charlie Brouwer, 2009, Old Salem, www.secca.org
Don't Be Selfish
Many artists are secretive about what they know and actively avoid sharing their knowledge. If you know an artist whose work fits the prospectus of an exhibition, by all means, let them know about it. Keeping information to yourself only hurts you in the long run. Artists who share information with each other get much further and develop excellent reputations. It is hard to be an artist, so be generous with your friends.
Don't Tread on Other Artists' Spaces
It is inappropriate to solicit interest in your work at someone else's event, or at a party. Handing out postcards to your show at someone else's opening is tacky. It is okay to give one or two to a friend, but do not stand at the door and hand out your announcements. If you share a studio with other artists, don't invade their studio visits with curators. That is their time. It's OK to say hello, but don't drag the curator into your own studio to look at your work.
Leaving a Gallery
How you leave a gallery can be really important. If your gallery has been supportive, treat them with respect and dignity. At least show appreciation for your partnership. Leave in a way that will honor your own integrity. Many artists leave newer galleries to partner with bigger galleries that have established reputations. Often an artist thinks the latter will help them advance their careers, but some smaller galleries will work harder for their artists than a gallery with a large roster. Do your research because this may not be the case for you, and gallery hopping will not necessarily strengthen your resume.
Reasons to leave a gallery are: not getting paid; your dealer is not actively pushing your work; other artists in the roster have lowered the quality of their work; personality conflict with the gallery or its staff; a breakdown in communication that cannot be rectified; or the reputation of the gallery changes.
Make sure when you decide to leave your gallery you have all the right paperwork and agreements in order. You will need to make sure the gallery returns all your work in a timely manner, pays you for any pending sales invoices, provides accurate records of all sales transactions of your work, and returns any materials, portfolios, or other things you have at the gallery. Depending on your relationship with the gallery, you may need to reconcile bills you owe to the gallery, like charges for framing or fabrication expenses.
Galleries That Tell You What To Make
Many artists have faced the dilemma of having their gallery dictate what kind of work they make. If a gallery encourages you to paint like another artist, or asks you to make five more of those yellow paintings because they sell well, you may be shortchanging your career. This kind of production decreases the value of important work and makes it appear as if you are just making work to sell instead of making work because it advances your practice. Think carefully before you go into production as a commercial artist.
On the other hand, if you have entered into an agreement with a gallery and the agreement stipulates that your work maintain its current conceptual/material attributes, you may need to renegotiate your contract or consider working with the gallery to make them better understand how your practice is shifting. Be true to your own vision, and change galleries if this persists............more....
To read the whole article go to http://www.huffingtonpost.com/karen-atkinson/ethics-for-artists_b_826053.html
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