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Legacies Now .Curatorial Toolkit. 2010
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Legacies Now .Curatorial Toolkit. 2010
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)S THIS TOOLKIT FOR YOU
4HIS TOOLKIT IS DESIGNED PRIMARILY FOR EMERGING CURATORS !LTHOUGH WRITTEN MAINLY FOR
INDEPENDENT CURATORS A LOT OF THIS INFORMATION IS RELEVANT FOR INDIVIDUALS WORKING WITHIN
AN INSTITUTION 4HE TOOLKIT ASSUMES THE CURATOR WILL BE WORKING PRIMARILY IN THE NON
PRO½T
SECTOR WITH PUBLIC ART GALLERIES MUSEUMS ANDOR ARTIST
RUN CENTRES IN #ANADA ALTHOUGH
THE INFORMATION CAN ALSO BE RELEVANT FOR CONTRACTS WITHIN THE PRIVATE SECTOR AND WITH
INSTITUTIONS OUTSIDE OF #ANADA #HARACTERISTICS UNIQUE TO WORKING WITHIN THE PRIVATE SECTOR
INCLUDING WITH COMMERCIAL GALLERIES ARE NOT CONTAINED IN THIS DOCUMENT
,EGACIES .OW IS DEDICATED TO STRENGTHENING ARTS LITERACY SPORT AND RECREATION HEALTHY
LIVING ACCESSIBILITY AND VOLUNTEERISM IN COMMUNITIES THROUGHOUT "RITISH #OLUMBIA AND #ANADA
!S A NOT FOR PRO½T SOCIETY ,EGACIES .OW IS CREATING LASTING LEGACIES AROUND THE PROVINCE
LEADING UP TO AND BEYOND THE /LYMPIC AND 0ARALYMPIC 7INTER 'AMES
,EGACIES .OW GRATEFULLY ACKNOWLEDGES THE 0ROVINCE OF "RITISH #OLUMBIA FOR ITS ONGOING
SUPPORT OF INITIATIVES LIKE THE #URATORIAL 4OOLKIT
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7EST 0ENDER 3TREET
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)NTRODUCTION
±0UBLIC EXHIBITIONS AND PRESENTATIONS INSPIRE THE IMAGINATION OF COMMUNITIES
#URATORS TAKE A LEAD ROLE IN GUIDING THE SUCCESS OF EXHIBITIONS AND PRESENTATIONS OFTEN
COLLABORATING WITH MANY PEOPLE IN THE ART COMMUNITY ALONG THE WAY "Y PROVIDING THIS
#URATORIAL 4OOLKIT THE 0ROVINCE OF "# AND ,EGACIES .OW PROVIDE A PRACTICAL
ROADMAP TO MAKE THE ROLE OF A CURATOR EASIER TO FOLLOW 7E HOPE THIS GUIDE BENE½TS ALL
OF ITS USERS AND PROVIDES A PATHWAY TO SUCCESS²
"25#% $%7!2
#HIEF %XECUTIVE /F½CER
,EGACIES .OW
4HIS CURATORIAL TOOLKIT RE¾ECTS OVER YEARS OF WORKING IN
THE BUSINESS AS A CURATOR AND PUBLIC GALLERY DIRECTOR !LTHOUGH THERE
ARE MANY WAYS TO APPROACH THE CURATOR´S WORK ) OFTEN DESCRIBE IN THESE
PAGES MY PREFERRED APPROACH BASED ON DIRECT EXPERIENCE WORKING FROM
INSIDE AN INSTITUTIONAL CONTEXT AND AS AN INDEPENDENT CURATORPRODUCER
4HE TOOLKIT IS MEANT AS A RECOMMENDED PRACTICES GUIDE ¯ A SUGGESTED
FRAMEWORK FROM WHICH CURATORS MAY CREATE THEIR OWN WORKING PROCESS
7HAT FOLLOWS IS A PRACTICAL GUIDE THAT DOES NOT ADDRESS THE MANY
THEORETICAL ISSUES RELATING TO CURATORIAL PRACTICE 4HE KIT IS AN OUTLINE
OF THE COMPLEX BUSINESS OF ORGANIZING EXHIBITIONS AND RELATED ACTIVITIES
AND IS NOT INTENDED TO BE COMPREHENSIVE &INALLY A CURATOR CAN MORE
EFFECTIVELY DO THEIR WORK IF THEY ARE AWARE OF ALL STEPS IN THE PROCESS
AND FOR THAT REASON THE KIT INCLUDES INFORMATION ABOUT RELATED TASKS
FOR WHICH THE CURATOR WOULD NOT ALWAYS BE RESPONSIBLE
+AREN ,OVE
0!'%
,EGACIES .OW #URATORIAL 4OOLKIT
#ONTENTS
)NTRODUCTION
#URATORIAL PRACTICE ¯ A BEGINNING !RTIST AGREEMENTS AND LOAN
4HE ROLE OF THE CURATOR NEGOTIATIONS
3OME HISTORY ON ADVOCACY FOR ,ETTER OF AGREEMENT OR CONTRACT
BEST PRACTICES ,OAN AGREEMENT
0REPARING A CURRICULUM VITAE
0UBLIC PROGRAMMING
2ESEARCHING A CONCEPT 0ROGRAMMING IDEAS
)NVESTIGATION #OMMUNITY CONSULTATION
3ELECTING THE ARTISTS 3CHEDULING
7RITING THE CONCEPT PROPOSAL
&UNDING OPTIONS FOR RESEARCH -EDIA RELATIONS AND AUDIENCE
DEVELOPMENT
&INDING A VENUE FOR THE PROJECT 7ORKING WITH A DESIGNER
2ATIONALE 0ROMOTIONAL MATERIALS
%XHIBITION PROPOSAL 0AID ADVERTISING
0ROPOSAL SUBMISSION AND FOLLOW
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UP
6ENUE CON½RMATION -OUNTING THE EXHIBITION
&OLLOW
UP 0LANNING FOR INSTALLATION NEEDS
#URATOR´S CONTRACT AND CRITICAL PATH /N SITE TO INSTALL THE PROJECT
4HE OPENING RECEPTION AND PUBLIC EVENTS
#OMPLETING THE PROJECT CONCEPT
AND ARTIST SELECTION 7RAP
UP
4HE ARTIST &INANCIAL TASKS
)NSTITUTIONS AND CORPORATE 0ROJECT ASSESSMENT AND ½NAL REPORTING
INDIVIDUAL COLLECTORS
2ESPONSES TO LOAN REQUESTS %XPANDING THE AUDIENCE
! MASTER LIST FOR THE PROJECT EXHIBITION CIRCULATION
%CONOMICS OF A TOUR
"UDGETING 4OUR VENUES
$EVELOPING A PRELIMINARY PROJECT BUDGET %XHIBITION TOUR PROPOSAL
"UDGET COMPONENTS COMPONENTS )TINERARY PLANNING AND CON½RMATION
4HE CURATOR´S RESPONSIBILITIES FOR A TOUR
&UNDRAISING DEVELOPMENT
4HE CURATOR´S ROLE 0UBLICATION
&UNDING OPPORTUNITIES
0!'%
#URATORIAL PRACTICE ¯ A BEGINNING
#URATORIAL
PRACTICE
¯ A BEGINNING
0!'%
,EGACIES .OW #URATORIAL 4OOLKIT
0ATRICK 4RAER FALLING FROM AFAR DETAIL
COMMERCIALLY MANUFACTURED
SHAPED LIGHTBOXES SCREENED DRAWINGS
ON PLEXIGLASS ¾ORESCENT LIGHTS INDOOR
INSTALLATION 3TRIDE 'ALLERY #ALGARY
0HOTO THE ARTIST
0!'%
#URATORIAL PRACTICE ¯ A BEGINNING
4HE ROLE OF THE CURATOR
(ISTORICALLY CURATORS HAVE BEEN RESPONSIBLE FOR RESEARCHING
AND DEVELOPING COLLECTIONS WITHIN INSTITUTIONS AND EXHIBITIONS
HAVE BEEN DRAWN FROM THAT CONTEXT
#ONTEMPORARY CURATORS CREATE AND CONTRIBUTE TO PUBLIC
DIALOGUES ABOUT IDEAS AND ART STRATEGIES THAT ADDRESS THE
WORLD IN ALL ITS COMPLEXITIES 4HEY ALSO CREATE OPPORTUNITIES
FOR ARTISTS 4HE CURATOR´S WORK IS DERIVED IN LARGE PART FROM
THE PRACTICE AND PRODUCTION OF VISUAL ARTISTS BUT SHEHE CAN
ALSO DRAW ON INTELLECTUAL AND CREATIVE CONTRIBUTIONS FROM
OTHER DISCIPLINES IN THE ARTS AND FROM MANY OTHER AREAS OF
EXPLORATION IN SOCIETY
!LTHOUGH THERE ARE EXCEPTIONS INCREASINGLY 4O FUNCTION AS A KIND OF GO BETWEEN FOR
CURATORS ARE EXPECTED TO TAKE ON MORE AND THE PRESENTING INSTITUTION AND THE ARTIST
MORE ADMINISTRATIVE AND DEVELOPMENTAL ENSURING THAT ALL AREAS OF RESPONSIBILITY
FUNDING RESPONSIBILITIES 4HE RANGE OF TASKS FOR THE PROJECT ARE BEING ADDRESSED
THAT BECOME THE RESPONSIBILITY OF A CURATOR 4HE CURATOR SHOULD HAVE THE LARGER
¯ EVEN AN INDEPENDENT CURATOR CONTRACTED PICTURE IN MIND AND ENSURE CAREFUL
TO PRODUCE A PROJECT FOR AN ORGANIZATION ¯ ATTENTION TO THE ARTIST´S INTERESTS WHILE
CAN VARY ENORMOUSLY FROM ONE SITUATION TO RESPECTING THE MANDATE NEEDS AND
ANOTHER PRIORITIES OF THE GALLERY
4HE CURATOR´S ROLE CAN BE DESCRIBED 4O PROVIDE PROFESSIONAL AND PUBLIC ACCESS
AS FOLLOWS TO THE PROJECT´S IDEAS AND ART BY ORGANIZING
THE EXHIBITION OR PROJECT ITSELF BY WRITING
4O ARTICULATE THE CONCEPT FOR AN ART
VARIOUS KINDS OF TEXTS CURATORIAL DIDACTIC
PRESENTATION AND CONCEPTUALIZE THE
AND PROMOTIONAL AND BY ORGANIZING PUBLIC
MANNER IN WHICH THIS ART CAN BE PRESENTED
PRESENTATIONS ASSOCIATED WITH THE PROJECT
TO THE PUBLIC
#URATORS MAKE IT THEIR TASK TO BE WELL INFORMED
4O ORGANIZE AND IMPLEMENT THAT
ABOUT CREATIVE PRACTICE BY LOOKING AT WHAT IS
PRESENTATION REPRESENTING THE ARTISTS
BEING PRODUCED AND EXHIBITED BY ARTISTS AND
AND THEIR WORK
CURATORS AND BY READING EXHIBITION CATALOGUES
BOOKS AND LOCALNATIONALINTERNATIONAL
PERIODICALS THEREBY ADDING CONTINUOUSLY TO
THE MENTAL ARCHIVE AND MATERIAL ACCUMULATION
OF INFORMATION ON ART AND LIFE
0!'%
,EGACIES .OW #URATORIAL 4OOLKIT
-ANY USEFUL PUBLICATIONS EXIST THAT ADDRESS THE ROLE OF THE CURATOR
3OME EXAMPLES INCLUDE
!NTHONY +IENDL ED /BSESSION #OMPULSION #OLLECTION /N /BJECTS $ISPLAY #ULTURE
AND )NTERPRETATION "ANFF "ANFF #ENTRE 0RESS
#ARIN +UONI ED 7ORDS OF 7ISDOM ! #URATOR´S 6ADE -ECUM ON #ONTEMPORARY !RT
.EW 9ORK )NDEPENDENT #URATORS )NTERNATIONAL
6ICTORIA .EWHOUSE !RT AND THE 0OWER OF 0LACEMENT .EW 9ORK -ONACELLI 0RESS
-ELANIE 4OWNSEND ED "EYOND THE "OX $IVERGING #URATORIAL 0RACTICES
"ANFF "ANFF #ENTRE 0RESS
#ATHERINE 4HOMAS ED 4HE %DGE OF %VERYTHING 2E¾ECTIONS ON #URATORIAL 0RACTICE
"ANFF "ANFF #ENTRE 0RESS
5TE 4ISCHLER AND #HRISTOPH 4ANNERT -EN IN "LACK (ANDBOOK OF #URATORIAL 0RACTICE
&RANKFURT AM -AIN +~NSTLERHAUS "ETHANIEN
0ETER 7HITE ED .AMING A 0RACTICE #URATORIAL 3TRATEGIES FOR THE &UTURE
"ANFF "ANFF #ENTRE 0RESS
&ACING (ISTORY 0ORTRAITS FROM 6ANCOUVER
PRODUCED BY 0RESENTATION (OUSE 'ALLERY
.ORTH 6ANCOUVER !RTWORKS BY RIGHT
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'ERZ LEFT
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0!'%
#URATORIAL PRACTICE ¯ A BEGINNING
3OME HISTORY ON ADVOCACY FOR BEST PRACTICES
3INCE THE EARLY S #ANADIAN PER CENT OF THE TOTAL EXHIBITION
INDEPENDENT CURATORS HAVE MET COLLECTIVELY PRESENTATION BUDGET WITH ADDITIONAL FEES
IN ORDER TO CLARIFY USEFUL WORKING MODELS FOR FOR COORDINATING THE CATALOGUE ½VE PER CENT
THEIR PROFESSION AND TO DEVELOP STANDARD OF TOTAL CATALOGUE COSTS FOR WRITING THE
BEST PRACTICES THAT INCLUDE THE PROTECTION CATALOGUE ESSAY TO PER WORD AND
OF CURATORIAL RIGHTS SUCH AS COPYRIGHT FOR AN EXHIBITION TOUR
PER CENT OF THE
AND PRINCIPLES AND SCHEDULES FOR STANDARD EXHIBITION FEE CHARGED PER BORROWING VENUE
CURATORIAL FEES 4HE INTENTION WAS THAT THESE FUNCTIONING AS A ROYALTY PAYMENT FOR THE WORK
PRACTICES WOULD BE ADOPTED BY INSTITUTIONS COMPLETED ADDITIONAL WORK FOR THE VENUE
HIRING CURATORS ON CONTRACT FOR PROJECT WORK PRESENTATIONS ARE TO BE PAID SEPARATELY
+EY MEETINGS OF INDEPENDENT CURATORS WERE
#,)#+ (%2% &/2 ! $/7.,/!$!",%
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3CHWARTZ AT (ART (OUSE 4ORONTO /CTOBER
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CURATORS FUNDED BY THE #ANADA #OUNCIL WORK RESULTED IN THE ADJUSTMENT OF POLICIES IN
$ECEMBER SPONSORED BY -ENTORING MANY INSTITUTIONS )T ALSO PROVIDED A CAREFULLY
!RTISTS FOR 7OMEN´S !RT IN 7INNIPEG AND CONSIDERED NEGOTIATING STRATEGY FOR CURATORS
RESULTING IN THE ,A3ALLE 2IVER !CCORD *ANUARY ONE THAT MORE EFFECTIVELY PROTECTS THEIR
AND -AY ORGANIZED BY THE RIGHTS (OWEVER CURATORIAL FEES STILL AMOUNT
4ORONTO )NDEPENDENT #URATOR´S .ETWORK TO ANNUAL INCOMES THAT ARE SUBSTANTIALLY
AND HELD IN 4ORONTO 5SEFUL DOCUMENTS LOWER THAN SALARIES RECOMMENDED BY THE
UNPUBLISHED EXIST FROM THESE KEY MEETINGS #ANADIAN -USEUMS !SSOCIATION OR SALARY
IN AND /F SPECIAL NOTE ARE LEVELS IN USE BY MOST GALLERIES IN #ANADA
THE FOLLOWING TODAY
4HE ,A3ALLE 2IVER !CCORD 4HIS INCLUDES A !LTHOUGH THE IDEA OF THE FORMATION OF A
RECOMMENDED FEE SCHEDULE FOR PROFESSIONAL FORMAL ASSOCIATION OF INDEPENDENT CURATORS
INDEPENDENT CURATORS FOR
HAS BEEN DISCUSSED OVER THE YEARS THERE
WHICH WAS MEANT TO ADDRESS SERIOUS IS STILL NO NATIONAL UMBRELLA ORGANIZATION TO
INEQUITIES )T BEGINS WITH A BASE FEE ENSURE THE USE OF A STANDARD FEE SCHEDULE
INTENDED TO GIVE ACKNOWLEDGMENT AND OR TO DEFEND COPYRIGHT AND OTHER RIGHTS FOR
PAYMENT FOR WHAT THE CURATOR BRINGS TO THE CURATORS )T IS THEREFORE ALL THE MORE IMPORTANT
INITIAL PROPOSAL FOR THE PRESENTING INSTITUTION THAT INDEPENDENT CURATORS REMAIN IN TOUCH
PRIOR TO ANY WORK BEING UNDERTAKEN FOR THE TO CONSULT ON INSTITUTIONAL PRACTICE TOWARD
PROJECT CONTRACT CONTRACT CURATORS AND TO SHARE INFORMATION
ABOUT RESOURCES OPPORTUNITIES AND FUNDING
4ORONTO )NDEPENDENT #URATORS .ETWORK OPTIONS FOR THE CURATORIAL DISCIPLINE
0ROPOSED &EE 3CHEDULE -AY
4HIS IS BASED ON THE PREMISE THAT THE
CURATOR´S FEE SHOULD NOT BE LESS THAN
0!'%
,EGACIES .OW #URATORIAL 4OOLKIT
0REPARING A CURRICULUM VITAE
%VERY CURATOR NEEDS A DOCUMENT OUTLINING (ERE ARE A FEW BASIC PRINCIPLES TO
HER OR HIS CREDENTIALS CONSIDER WHEN PREPARING A #6
! CURRICULUM VITAE HENCEFORTH REFERRED "E CONCISE )F POSSIBLE KEEP THE
TO AS #6 IS REQUIRED FOR MANY SCENARIOS DOCUMENT TO ONE TO THREE PAGES 4HE
INCLUDING JOB APPLICATIONS CURATORIAL AND #ANADA #OUNCIL REQUIRES A #6 OF NO MORE
WRITING PROPOSALS GRANT APPLICATIONS AND THAN THREE PAGES FOR THEIR APPLICATIONS
REQUESTS FROM ORGANIZATIONS HOSTING THE
"E ACCURATE #HECK SPELLING AND INCLUDE
CURATOR´S CONTRIBUTION TO THEIR PROGRAM #6S
DATES AND COMPLETE ORGANIZATION NAMES
ARE SOMETIMES REQUIRED ON VERY SHORT NOTICE
RATHER THAN ABBREVIATIONS 5SE FACTUAL
0ERIODIC UPDATES CAN SAVE TIME AND ANXIETY
DETAILS TO ±BLOW YOUR OWN HORN ² NOT
LATER ON
¾OWERY ADJECTIVES %MBELLISHMENT OR
%VEN AT THE BEGINNING OF A CAREER A #6 ONE
EXAGGERATION WILL BE COUNTERPRODUCTIVE
PAGE SHOULD BE PREPARED THAT REFERENCES
"E CONSISTENT /RDER INFORMATION IN
A HISTORY OF EDUCATION EMPLOYMENT AND
EACH SECTION CHRONOLOGICALLY BEGINNING
COMMUNITY ACTIVITIES ,ISTING EXPERIENCES
WITH THE MOST RECENT ACTIVITIES AND MOVING
THAT ARE NOT RELATED DIRECTLY TO THE ARTS
BACKWARDS IN TIME THE MOST COMMON
½ELD CAN STILL BE INFORMATIVE AS THEY WILL
APPROACH ! LIST OF YOUR OWN PUBLICATIONS
INDICATE TRANSFERABLE SKILLS SUCH AS WRITING
SHOULD BE CHRONOLOGICAL )N THE CASE OF
ABILITIES ADMINISTRATIVE SKILLS THAT AID IN THE
BIBLIOGRAPHIES MANY PREFER THIS INFORMATION
MANAGEMENT OF A PROJECT AND PRACTICAL
TO BE CHRONOLOGICAL (OWEVER ARTICLES AND
KNOWLEDGE SUCH AS HOW TO CONSTRUCT A WALL
PUBLICATIONS CAN INSTEAD BE ORGANIZED
OR THE FRAME FOR AN ARTWORK WRITE A GRANT
ALPHABETICALLY ACCORDING TO THE WRITER´S
APPLICATION OR DESIGN A POSTER
LAST NAME
!S A CAREER DEVELOPS EARLY EMPLOYMENT
+EEP IT SIMPLE 4HE LAYOUT SHOULD HELP
UNRELATED TO AN ARTS CAREER CAN BE OMITTED
TO MAKE THE DOCUMENT EASY TO READ !VOID
FROM THE #6 AS DEEMED APPROPRIATE
MULTIPLE FONT DESIGNS AND POINT SIZES
$EPENDING ON HOW FAR
RANGING A CURATOR´S
ACTIVITIES ARE #6S CAN BE ½NE
TUNED AND )F PART OR ALL OF THE #6 IS IN NARRATIVE FORM
GEARED TO A PARTICULAR PURPOSE FOR WORK NEVER WRITE IN THE THIRD PERSON
AS A CURATOR WORK IN PUBLISHING WORK AS A
CONSULTANT FOR THE NON
PRO½T SECTOR OR THE
FOR
PRO½T SECTOR ETC +EEP IN MIND THAT THIS
MULTIPLE #6 APPROACH WILL INVOLVE UPDATING
MORE THAN ONE DOCUMENT
0!'%
#URATORIAL PRACTICE ¯ A BEGINNING
! CURATOR´S #6 WILL USUALLY INCLUDE SEVERAL OF THESE CATEGORIES ;AN EXHIBITION
THE FOLLOWING COMPONENTS CAN ALSO HAVE A TOUR AND A CATALOGUE=
HENCE THE ARGUMENT FOR CONDENSING ITEMS
%DUCATION POST
SECONDARY CREDENTIALS
INTO ONE LISTING UNDER ±#URATORIAL 0ROJECTS ²
CAN ALSO INCLUDE POST
SCHOOL STUDIES SUCH
RATHER THAN IN SEPARATE SECTIONS
AS PROFESSIONAL COURSES WORKSHOPS
SYMPOSIA ETC 4EXTS WRITTEN FOR PUBLICATION IN
CATALOGUESBOOKSPERIODICALS
0ROFESSIONAL WORK INSTITUTIONAL OR
EMPLOYMENT HISTORY IN THE VISUAL ARTS "IBLIOGRAPHY OF ARTICLES WRITTEN ABOUT
IF APPLICABLE NOT INDEPENDENT PROJECTS YOUR WORK IF SEPARATE FROM ABOVE
3ELECTED CURATORIAL PROJECTS 4HIS CATEGORY !ND SOME #6S INCLUDE GRANTS AND AWARDS
CAN INCLUDE EXHIBITIONS AS WELL AS RELATED JURIES SERVED ON AND OTHER PERTINENT
ACTIVITIES SUCH AS THE ORGANIZATION OF ACTIVITIES
SYMPOSIA OR PUBLIC ART PROJECTS AND THE
&OR NOTES ON FORMATS FOR PUBLICATION LISTINGS
PRODUCTION OF PUBLICATIONS !LTERNATIVELY STYLE AND ARRANGEMENT OF ENTRIES SEE 4HE #HICAGO
USE SEPARATE SECTIONS FOR EXHIBITIONS -ANUAL OF 3TYLE #HICAGO 5NIVERSITY OF #HICAGO
0RESS OR ANOTHER STANDARD REFERENCE TOOL FOR
SPECIAL PROJECTS PUBLIC LECTURES AUTHORS AND EDITORS
PUBLICATIONS ETC -ANY PROJECTS HAVE
7EATHERVANE PRODUCED BY /AKVILLE 'ALLERIES
/TTAWA !RT 'ALLERY )NSTALLING LIGHT ½XTURES
FOR &ARGO BY 4ANIA +ITCHELL AT 51!-
'ALLERY -ONTREAL 0HOTO + ,OVE
0!'%
Documents from meetings of independent curators, 1998-99
Organized to determine best practices for the
independent curator/arts institution relationship in Canada
________________________________________________
THE LASALLE RIVER ACCORD
INTRODUCTION
At a meeting of eight curators held [at St. Norbert Arts Centre (SNAC)] in Winnipeg from
December 11-13, 1998, sponsored by Mentoring Artists for Women’s Art, those present
discussed the question of a fee scale for professional independent curators.
In the course of this discussion, the curators referred to the reports of two meetings that were
held in Toronto in 1982: a local meeting of eight independent curators, and a subsequent national
meeting of twenty independent curators. In these two prior meetings, a model fee schedule had
been advanced in line with the Canadian Museums Association (CMA) pay scale for annual
salaries of that time. This proposed fee, based on “condensed time” (that is, an approximation of
estimated full- and part-time work to be undertaken over an extended time period, condensed to
an equivalent consecutive full-time period) was $150/day, $500/week, $2,000/month.
Sixteen years after the Toronto meetings, with no professional association of curators yet formed
to protect the interests of independent curators, the eight curators at SNAC tabled the LaSalle
River Accord as a proposed fee schedule. This agreement upgraded the fee scale of 16 years
ago and introduced the concept of a base curatorial fee, as outlined below.
Those present agreed to adopt a two-part structure for a recommended minimum professional fee
scale, consisting of:
1. A base curatorial fee that is independent of time-allocated research and production
elements of the fee scale, and is equivalent to one month of salary;
2. A time-based estimate of other work, incorporating variously such elements as pre-
production (research and related activities), production, installation, publication, touring.
The base curatorial fee and the time-based estimate of other work were based on a model of
$260/day, $1,000/week and $4,000/month. While moderately in excess of the current CMA pay
scale, it was noted that institutions do not pay independents such items as vacation pay, pension,
health insurance, UIC and other benefits, nor do they supply the ongoing research, administrative
and infrastructure resources necessary to professional development and continuance.
As in the previous meetings, it was felt necessary to specify each aspect of the work undertaken
for an exhibition or related project, and to set the fee according to those variables. It was
anticipated that, in utilizing this fee scale, a mid-size exhibition requiring moderate research,
together with installation and catalogue essay, would entail a fee of $12,000-16,000. That in
many instances this would represent a significant increase from many of the fees currently being
paid to independent curators was indeed the point.
Those present undertook to meet with other independent curators in their communities with a
view to circulating the agreement and, allowing also for changes through these discussions,
obtaining signatures by professional independent curators who are in accord with this fee scale.
In the absence of a formal association of independent curators, this accord with its signatories
constitutes a working professional standard.
0!'%
Participants: Renee Baert, Joan Borsa, Sigrid Dahle, Barbara Fischer, Vera Lemecha, Shirley
Madill, Kitty Scott and Diana Sherlock
December 12, 1998
THE LASALLE RIVER ACCORD
Recommended Base Fee Schedule for Professional Independent Curators
This 1999-2000 fee scale is for professional fees, independent of expenses. It is intended to be
broad enough to apply to any situation for which the independent curator might be contracted
including exhibitions, performance series, video screenings, lecture series, symposia and so on.
A. Base Curatorial Fee (*1): $4,000
B. Fee scale for Pre-production (*2), Production (*3), Exhibition Installation, Post-production (*4),
Publication Production (*5), Touring (*6) or other equivalent work:
$260/day, $1,000/week, $4,000/month, plus expenses
This fee is based on condensed time, i.e. an approximation of estimated full- and part-time work
to be undertaken over an extended time period, condensed to an equivalent consecutive full-time
period.
C. Publication: essay, interview, etc.: $1 per word, $1,000 minimum
D. Touring: curatorial residual: 25% of curatorial fee per venue plus, if applicable,
installation fee per fee scale, expenses and
administration fees
E. Charge for office infrastructure: negotiable
F. Cancellation fee: 50% of base curatorial fee plus research + related
expenses
* Appendix
(1) The base curatorial fee is intended to give acknowledgment and payment for what the
curator already brings to the initial proposal to the presenting institution (or the invitation
to propose/mount an exhibition), and which forms part of the built-in salary for institutional
curators. This includes, for example:
o Professional knowledge (of material practices and conceptual models, of
work in the field);
o Professional experience and intellectual development acquired independent
of the institution that benefits the project;
o Preliminary research in the development of the basic curatorial concept
presented to the sponsoring institution (often including travel, studio visits,
type [scale and complexity] of exhibition, etc);
o Professional skills in preparation and production;
o The office infrastructure that the independent curator supplies.
It is anticipated that the base curatorial fee would be paid in two installments: half in the pre-
production phase and half in the production phase. The first installment would constitute a
2
0!'%
cancellation fee (together with research fees paid) should the project not proceed to
production.
(2) Pre-production represents the development of this project from its initial concept to its
final proposal stage, including research, development of project concept, selection of
proposed artists/works, budget development, research travel, the formal written proposal,
location of works and loan requirements, etc.
(3) Production includes the work from the final proposal to the installation of the exhibition,
including supplementary research as required by the project or unforeseen
circumstances, administration as applicable (loan agreements, shipping, crating,
negotiations with artists/institutions/lenders), preparation of didactic materials, etc. It does
not include the installation itself, nor public lectures, panel discussions or related activities
paid separately.
(4) Post-production includes press and public relations, press kits, work with docents, public
lectures.
(5) Publication production includes work entailed in such tasks as liaison with designers,
writers, artists; proof-reading, liaison regarding translation; organizing biographic and
bibliographic materials, documentation and photographic material; editorial supervision
regarding other texts and materials, credits and acknowledgements, photo captions,
index; negotiation for copyright.
We recommend the institution budget for the services of a professional editor. Minimum
of 20 publications [copies] allocated to the curator.
(6) Touring may include, over and above the curatorial residual fee of 25% (and fees for
installation, travel and per diem costs), [work related to] negotiations with receiving
institutions, preparation of installation instructions as necessary, involvement in crating,
shipping, insurance and related items.
LaSalle River Accord Signatories: Renee Baert, Joan Borsa, Sigrid Dahle, Barbara Fischer,
Vera Lemecha, Shirley Madill, Kitty Scott and Diana Sherlock
January 25, 1999
This was followed by a meeting in Toronto, May 1999
TORONTO INDEPENDENT CURATORS NETWORK
Proposed Fee Schedule
1. Curator’s fee should be not less than 25% of the total exhibition presentation budget.
• This total does not include a catalogue budget, and does not entail any catalogue duties
from the curator.
• The total presentation budget is calculated by adding together all the following costs:
o artist and curator fees
o travel, accommodation and per diems
o installation materials and supplies
o technical assistance, equipment rental
o signage, didactic materials
0!'%
o framing, conservation
o production costs for commissioned or site-specific work;
o photographic documentation.
• This total presentation budget does not include: The gallery’s promotional costs, e.g.
invitation, opening reception, advertising.
• Generally a curator’s duties would include: research, production/installation, writing of
press release and didactic materials (but not a full catalogue-type essay, which is
calculated separately).
2. Curator’s fee for coordinating a catalogue: 5% of total catalogue cost
3. Curator’s fee for exhibition tour should be 20-30% of exhibition fee charged per guest
venue.
o This fee functions like a royalty for work completed, rather than a fee for new
duties.
o This fee does not include administration/coordination of exhibition tour, which is
the responsibility of the institution.
o This fee does not include installation duties at tour venues, which would be paid
for additionally if the curator is to oversee the installation himself/herself.
[*CURATOR NOTE: The above fee scenario does not include shipping and related costs as part
of the presentation budget used to calculate the curator’s fee. If the curator is involved in helping
to facilitate crating and shipping arrangements, in any way, one might argue that these costs
should be included in the calculation. In fact such shipping implies out-of-town and/or out-of-
country participation by artists, which usually indicates more complex coordination on the part of
the curator and that might be reason alone for including these costs. K.Love, 2007]
4
0!'%
,EGACIES .OW #URATORIAL 4OOLKIT
3AFETY 'EAR FOR 3MALL !NIMALS "ILL "URNS
$IRECTOR PRODUCED BY $ORYPHORE )NDEPENDENT
#URATORS AND PUBLIC GALLERIES INSTALLATION AT
3AIDYE "RONFMANN #ENTRE 'ALLERY -ONTREAL
0HOTO 0AUL ,ITHERLAND
0!'%
2ESEARCHING A CONCEPT
2ESEARCHING
A CONCEPT
0!'%
,EGACIES .OW #URATORIAL 4OOLKIT
#URATORIAL PRACTICE DEVELOPS MAINLY OUT OF THE
EXAMINATION OF ARTISTIC PRACTICE 'ENERAL WIDE
REACHING OBSERVATION OVER TIME WILL EVOLVE INTO THE
FORMATION OF IDEAS FOR EXHIBITIONS AND OTHER ART
PROJECTS 4HE IMPETUS MAY BE A PARTICULAR ARTIST´S
WORK OR A CERTAIN TREND OR PHENOMENON IN ART
MAKING OR A GROWING INTEREST IN AN ISSUE SOCIAL
POLITICAL ENVIRONMENTAL HISTORIC OR OTHER THAT THE
CURATOR SEES RE¾ECTED IN THE WORK OF VISUAL ARTISTS
)NVESTIGATION
/NCE AN IDEA OR POINT OF INTEREST HAS BEEN 4HE #ANADA #OUNCIL !RT "ANK WEBSITE
DE½NED CURATORS SHOULD INVESTIGATE FURTHER WWWARTBANKCA WHICH PROVIDES ACCESS TO
TO DETERMINE IF THE PROJECT HAS CONCEPTUAL THEIR COLLECTION IN LIST FORM ACCESS TO IMAGES
DEPTH 4HEY MUST ALSO ASSESS THE PROJECT´S OF SELECTED WORKS CAN ALSO BE ARRANGED
VIABILITY IF ARTWORK IS AVAILABLE ETC
.ATIONAL 'ALLERY OF #ANADA#YBERMUSE
3TEPS REQUIRED TO UNDERTAKE THIS WEBSITE HTTPCYBERMUSEGALLERYCA A
EXPLORATION INCLUDE RESEARCH RESOURCE ABOUT THE .'# COLLECTION
2EADING BOOKS AND CATALOGUES ONBY #ONSULTING WITH COLLEAGUES
THE ARTISTS AND PUBLICATIONS THAT DISCUSS
#HECKING LISTSERVES SUCH AS !KIMBO
RELEVANT IDEAS AND ARTWORK )T IS USEFUL TO
WWWAKIMBOBIZ WHICH PROVIDE UP
TO
LEARN ABOUT OTHER EXHIBITIONS ON THE ARTIST
DATE INFORMATION ON EXHIBITIONS ARTIST
OR THE THEMES BEING EXPLORED )T WOULD
CURATOR TALKS AND MANY OTHER CULTURAL EVENTS
BE RARE TO DUPLICATE EXACTLY A PREVIOUS
PROJECT (OWEVER IT IS BEST TO BE AWARE 6ISITING STUDIOS AND GALLERIES INCLUDING
OF ANY CROSSOVERS THE ARTIST´S DEALER AND COMMUNICATING
WITH KEY ARTISTS .OTE THAT A VISIT TO
#ONDUCTING )NTERNET RESEARCH SEARCH
AN ARTIST´S STUDIO NEED NOT BE TIED TO
INFORMATION ON ARTISTS EXHIBITIONS AND
THE ORGANIZATION OF A PARTICULAR PROJECT
THEMES 3OME USEFUL WEBSITES FOR
AS THE CURATOR MAY SIMPLY WISH TO BECOME
#ANADIAN ART INCLUDE
FAMILIAR WITH THE ARTIST´S WORK GENERALLY
4HE #ENTRE FOR #ONTEMPORARY #ANADIAN !RT OR WITH A PARTICULAR PROJECT ! STUDIO VISIT
4HE #ANADIAN !RT $ATABASE WEBSITE WWW CAN THEREFORE BE FOCUSED ON INFORMATION
CCCACA WHICH HAS INFORMATION ON ARTISTS GATHERING WITH NO EXPECTATION OF A
DESIGNERS WRITERS WITH TEXTS ON ARTISTS COMMITMENT !RTISTS WILL OFTEN APPRECIATE
ALL TYPES OF GALLERIES ARTIST´S SITES AND OTHER CONSTRUCTIVE FEEDBACK ABOUT THEIR WORK OR
RESOURCES OPPORTUNITIES FOR PUBLIC EXPOSURE SHOULD
THE CURATOR HAVE SUGGESTIONS TO OFFER
0!'%
2ESEARCHING A CONCEPT
#OLLECTING MATERIALS FROM THE ARTISTS OR RETURNED SLIDES ETC SO THAT YOU HAVE
GALLERIES INCLUDING VISUALS #6S EXISTING THE MATERIALS TO WORK WITH WHILE THE
PUBLICATIONS IF AVAILABLE THESE MAY NEED PROJECT IS IN DEVELOPMENT
TO BE SECURED FROM PUBLISHERS ARTIST´S
4RAVELLING TO SEE RELEVANT EXHIBITIONS AND
STATEMENTS ETC 7HEN POSSIBLE MAKE
OR COLLECTIONS
COPIES OF ANY MATERIALS THAT NEED TO BE
3ELECTING THE ARTISTS
! POSITIVE WORKING RELATIONSHIP WITH THE )F THE PROJECT IS A THEMATIC GROUP SHOW THE
ARTISTS WILL BE IMPORTANT AND OF COURSE CURATOR HAS THE OPTION OF LISTING THE ARTISTS
CAN CONTRIBUTE TO AN ENERGETIC AND AS BEING UNDER CONSIDERATION PRIOR TO
INFORMATIVE DISCUSSION ABOUT THE MANY APPROACHING AND CON½RMING THOSE ARTISTS )F
OPTIONS BEING CONSIDERED FOR THE EXHIBITION THE PROJECT IS ACCEPTED BY A GALLERY THEY WILL
ASK THAT THE CURATOR CON½RM ALL PARTICIPANTS
)F THE PROJECT IS A SOLO EXHIBITION OR INVOLVES
WITHIN A PRESCRIBED PERIOD OF TIME !RTISTS
ONLY A SMALL NUMBER OF LIVING ARTISTS IT IS
MUST GIVE APPROVAL FOR THEIR PARTICIPATION
NECESSARY TO ASK THE ARTISTS IF THEY AGREE
IN A PROJECT FOR THE PARTICULAR SELECTION OF
TO THE IDEA OF INCLUDING THEIR WORK IN THE
WORK AND FOR THE SELECTED GALLERY THAT WILL
PROJECT AND TO THE SUBMISSION OF A PROPOSAL
PRESENT THE EXHIBITION
TO ONE OR MORE GALLERIES
7RITING THE CONCEPT PROPOSAL
3TART WRITING DOWN IDEAS 4HIS EXERCISE -ANY CURATORS INITIALLY CHOOSE A WORKING
HELPS TO CLARIFY THE PRIMARY INTENTIONS OF TITLE TO IDENTIFY THE PROJECT SIMPLY PRIOR
THE PROJECT AND THE RATIONALE FOR ASSEMBLING TO BEING READY TO SELECT A ½NAL TITLE "E
THIS PARTICULAR SELECTION OF ARTISTS AND SURE THIS WORKING TITLE IS ONE YOU FEEL
OR ARTWORKS 'RANT APPLICATION AND OTHER COMFORTABLE EXPOSING TO YOUR PEERS FUNDERS
DEADLINES ARE VERY USEFUL AS THEY FORCE AN AND OTHERS )T MAY NOT BE USED AS A ½NAL
ARTICULATION OF THE PROJECT´S IDEAS $EVELOP TITLE THEREFORE IT´S BEST TO STATE ITS STATUS BY
A ONE
PAGE DESCRIPTION THAT IDENTI½ES ADDING ±WORKING TITLE² IN BRACKETS %VENTUALLY
THE FOCUS OF THE PROJECT A SYNOPSIS OF YOU WILL WANT TO CHOOSE A TITLE THAT HAS NOT
BACKGROUND AND RELEVANT IDEAS AND AN BEEN USED BEFORE OR IS AT LEAST A VARIATION
OVERVIEW OF THE ARTWORK YOU ARE CONSIDERING OF AN EXISTING TITLE ! SEARCH ON THE )NTERNET
CAN BE INFORMATIVE IN THIS REGARD BUT WON´T
NECESSARILY BE COMPREHENSIVE
0!'%
,EGACIES .OW #URATORIAL 4OOLKIT
1UESTIONS FOR CONSIDERATION !ND PRESENTING EXACTLY THE SAME WORK THAT
HAS BEEN SHOWN IN ANOTHER CENTRE CAN BE
7HAT DOES THE PROJECT CALL FOR
VALUABLE ESPECIALLY IF THE WORK HAS NOT BEEN
INTRINSICALLY WITH RESPECT TO ITS
SEEN AT ALL IN THE PROPOSED VENUE´S CITY
SCALE AND SCOPE
OR HAS NOT BEEN SEEN IN RECENT YEARS 4HE
)F THE PROJECT IS A SOLO EXHIBITION IDENTIFY ARCHITECTURAL SPACE AND AUDIENCE OF A NEW
THE FOCUS NEW WORK STILL TO BE PRODUCED VENUE AND A NEW CURATORIAL PRESENTATION OF
AND EXHIBITED FOR THE ½RST TIME A SPECIAL THE WORK CAN RE
POSITION ARTWORK WITH A FRESH
PROJECT SUCH AS AN INTERVENTION IN THE PUBLIC PERSPECTIVE AND CONTEXT
REALM OR VIA A PRINT OR DIGITAL PUBLICATION A
7ILL THE PROJECT BE APPROPRIATE
SINGLE BODY OF WORK OR A SURVEY OF WORK FROM
FOR A SINGLE VENUE PRODUCER OR
A DE½NED PERIOD OF TIME OR ADDRESSING A
REQUIRE THE COLLABORATION OF
PARTICULAR AREA OF INTEREST BY THE ARTIST OVER
SEVERAL PRODUCERS
TIME OR A MORE COMPREHENSIVE RETROSPECTIVE
)F A PROJECT HAS HIGH EXPENSES IN THE AREA
)F THE PROJECT IS A GROUP EXHIBITION BASED
OF EQUIPMENT PURCHASE ANDOR IF A SUBSTANTIAL
ON A THEME OR REPRESENTING A HISTORIC OR
PUBLICATION IS APPROPRIATE OR IF A COSTLY
CONTEMPORARY TREND OR PERIOD OF TIME WILL
ARTIST COMMISSION OF NEW WORK IS ENVISIONED
IT INCLUDE CONTEMPORARY OR HISTORIC WORK OR
AND NO SINGLE GALLERY IS LIKELY TO HAVE THE
BOTH 7ILL IT BE CONCERNED WITH A PARTICULAR
REQUIRED RESOURCES FOR THE PROJECT BRINGING
MEDIUM PHOTOGRAPHY VIDEO OR PAINTING
IN ONE OR MORE OTHER GALLERIES AS CO
PRODUCERS
FOR EXAMPLE OR BE MORE WIDE
REACHING
WILL BE VERY BENE½CIAL
(OW MANY ARTISTS AND WORKS SHOULD BE
INCLUDED TO EFFECTIVELY CONVEY THE IDEAS IN ;3EE SECTION
&INDING A 6ENUE=
THE PROJECT
7HAT HAS ALREADY BEEN DONE
ON THIS ARTIST OR ARTISTS OR THIS
THEME AND WHAT IS DIFFERENT
ABOUT YOUR PROJECT
4HIS IS NOT TO SUGGEST THAT PRESENTING NEW
WORK IS MORE VALUABLE THAN WORK FROM THE
PAST 4HE BEST ART IS OF INTEREST INDE½NITELY
AND IN VARYING WAYS DURING DIFFERENT TIMES
0!'%
2EASEARCHING A CONCEPT
&UNDING OPTIONS FOR RESEARCH
4HERE ARE VERY FEW GRANT PROGRAMS THAT FUND !S AN INDIVIDUAL
RESEARCH IN VISUAL ART .ONETHELESS ½NANCIAL
#ANADA #OUNCIL FOR THE !RTS
SUPPORT WILL NORMALLY BE NEEDED GIVEN THE
WWWCANADACOUNCILCA OFFERS RESEARCH
TIME REQUIRED TO CON½RM ARTWORKS DEVELOP
AND DEVELOPMENT GRANTS FOR PROFESSIONAL
TEXTS AND ½ND ONE OR MORE VENUES FOR YOUR
INDEPENDENT CRITICS AND CURATORS AND
PROJECT NOW THAT THE BASIC THESIS THE
TRAVEL GRANTS !S OF ELIGIBILITY
PROPOSED OR ±UNDER CONSIDERATION² ARTISTS
CRITERIA 4O APPLY A CURATOR MUST HAVE A
AND THE RATIONALES FOR SELECTION HAVE BEEN
MINIMUM OF THREE YEARS EXPERIENCE
WORKED OUT )F YOU HAVE AN INTERESTED VENUE
IN THE ½ELD THREE PUBLIC EXHIBITIONS
THEY WILL SOMETIMES CONTRIBUTE ½NANCIALLY
OR PUBLICATIONS
TO RESEARCH OR SUPPORT GRANT APPLICATIONS
THROUGH THEIR INSTITUTION WHERE THERE IS #ANADA #OUNCIL FOR THE !RTS´ !UDIENCE
ACCESS TO A WIDER RANGE OF FUNDING OPTIONS AND -ARKET $EVELOPMENT PROGRAM
PROVIDES TRAVEL GRANTS ±TO PROMOTE
.OTE THAT SOME GRANT PROGRAMS REQUIRE
KNOWLEDGE AND APPRECIATION OF #ANADIAN
INFORMATION ABOUT OUTCOMES AND IMPACTS
ARTS TO ENHANCE THE DEVELOPMENT OF
FROM THE PROJECT AND OFTEN THIS CAN´T BE
#ANADIAN ARTISTS´ CAREERS NATIONALLY AND
IDENTI½ED EASILY UNTIL AFTER PRELIMINARY
INTERNATIONALLY AND TO PROVIDE ONGOING
RESEARCH IS COMPLETED !S WELL ALL GRANT
ACCESS TO PROFESSIONAL #ANADIAN ARTISTS
PROGRAMS HAVE ELIGIBILITY CRITERIA AND SOME
AND THEIR WORKS BY BOTH #ANADIAN AND
REQUIRE THAT THE CURATOR HAVE A TRACK RECORD
FOREIGN AUDIENCES²
OF A CERTAIN SIZE BEFORE APPLYING
4HE #ANADA #OUNCIL FOR THE !RTS´
&UNDING PROGRAMS ARE ALWAYS CHANGING AND
)NTERNATIONAL 2ESIDENCIES 0ROGRAM IN
YOU WILL NEED TO RESEARCH THE VARIOUS LOCAL
6ISUAL !RTS IS INTENDED FOR PROFESSIONAL
PROVINCIAL AND FEDERAL CULTURAL AGENCIES TO ½ND
ARTISTS WORKING IN VISUAL ARTS ½NE CRAFT
OUT WHAT IS AVAILABLE FOR INDIVIDUAL CURATORS
AND INDEPENDENT CRITICISM AND CURATING
AND WHAT THE CRITERIA IS FOR APPLYING 3OME
OPTIONS FOR FUNDING ARE AS FOLLOWS
)NTERNATIONAL CURATORS MEETING AND TOUR OF
$/8 #ENTRE FOR #ONTEMPORARY !RT 0RAGUE
PRIOR TO COMPLETION OF CONSTRUCTION
0!'%
,EGACIES .OW #URATORIAL 4OOLKIT
'RANTS CONTRIBUTE TOWARD SUBSISTENCE 4HE "ANFF )NTERNATIONAL #URATORIAL
TRAVEL ACCOMMODATION AND PRODUCTION )NSTITUTE WWWBANFFCENTRECABICI
COSTS AND RESIDENCY FEES TO PARTICIPATE PROGRAMS ENCOMPASS A RANGE OF PUBLIC
IN AN INTERNATIONAL RESIDENCY EG 0ARIS ACTIVITIES INCLUDING SYMPOSIA THINK
TANKS
,ONDON "ERLIN AND ELSEWHERE EXHIBITIONS AND PUBLICATIONS
4HE )NSTITUTE ALSO PROVIDES RESEARCH
4HE #ANADA #OUNCIL ALSO HAS PROGRAMS
OPPORTUNITIES FROM RESIDENCIES TO WORKSHOPS
TO SUPPORT CURATORIAL RESIDENCIES IN
AND TRAINING OPPORTUNITIES
INSTITUTIONS
!S PART OF A COLLECTIVE OR
3INCE LATE THE "# !RTS #OUNCIL
NON
PRO½T SOCIETY
WWWBCARTSCOUNCILCA ACCEPTS
SUBMISSIONS FROM INDEPENDENT CURATORS #ANADA #OUNCIL FOR THE !RTS
TO THEIR 0ROJECT !SSISTANCE FOR 6ISUAL WWWCANADACOUNCILCA OFFERS PROJECT
!RTISTS PROGRAM ASSISTANCE 9OU MUST APPLY UNDER THE
AUSPICES OF A NON
PRO½T SOCIETY OR
/THER #ANADIAN PROVINCES HAVE FUNDING
COLLECTIVE OF ARTISTS CURATORS OR PRODUCERS
PROGRAMS THAT MAY RELATE TO CURATORIAL
AND MUST HAVE A RECORD OF PRODUCTION
WORK #HECK WEBSITES FOR PROVINCIAL ARTS
! COLLECTIVE IS THREE OR MORE PROFESSIONALS
COUNCILS OR CULTURAL AGENCIES .OTE )F
WHO HAVE A CLEAR MANDATE AND A MISSION
YOUR PROJECT INVOLVES AN ARTIST FROM
TO WORK TOGETHER TO ACCOMPLISH GOALS
ANOTHER PROVINCE NOT WHERE THE CURATOR
RESIDES OR WHERE THE PROJECT WILL BE .OTE 4HE #ANADA #OUNCIL OFFERS A 'LOSSARY OF #OUNCIL
4ERMS THAT IS USEFUL BEYOND ITS RELEVANCE FOR GRANT
PRESENTED IT MIGHT BE POSSIBLE TO APPLY APPLICATIONS 3EE WWWCANADACOUNCILCAHELP
TO THE PROVINCIAL GOVERNMENT WHERE THE LJHTM
ARTIST RESIDES FOR TRAVEL SHIPPING AND OTHER
;3EE ALSO 3ECTION
&UNDRAISING=
½NANCIAL SUPPORT OR FOR THE ARTIST TO DO
SO ON BEHALF OF YOUR PROJECT
0!'%
&INDING A VENUE FOR THE PROJECT
&INDING A VENUE
FOR THE PROJECT
0!'%
,EGACIES .OW #URATORIAL 4OOLKIT
-ANY USEFUL PUBLICATIONS EXIST THAT 0ETER 7HITE ED .AMING A 0RACTICE
ADDRESS THE ROLE OF THE CURATOR #URATORIAL 3TRATEGIES FOR THE &UTURE
3OME EXAMPLES INCLUDE "ANFF "ANFF #ENTRE 0RESS
!NTHONY +IENDL ED /BSESSION #OMPULSION
#OLLECTION /N /BJECTS $ISPLAY #ULTURE
AND )NTERPRETATION "ANFF "ANFF #ENTRE 0RESS
#ARIN +UONI ED 7ORDS OF 7ISDOM !
#URATOR´S 6ADE -ECUM ON #ONTEMPORARY !RT
.EW 9ORK )NDEPENDENT #URATORS
)NTERNATIONAL
6ICTORIA .EWHOUSE !RT AND THE 0OWER OF
0LACEMENT .EW 9ORK -ONACELLI 0RESS
-ELANIE 4OWNSEND ED "EYOND THE "OX
$IVERGING #URATORIAL 0RACTICES
"ANFF "ANFF #ENTRE 0RESS
#ATHERINE 4HOMAS ED 4HE %DGE OF
%VERYTHING 2E¾ECTIONS ON #URATORIAL 0RACTICE
"ANFF "ANFF #ENTRE 0RESS
5TE 4ISCHLER AND #HRISTOPH 4ANNERT -EN IN
"LACK (ANDBOOK OF #URATORIAL 0RACTICE
&RANKFURT AM -AIN +~NSTLERHAUS "ETHANIEN
-EMORY 0ALACE ;ARTISTS IN THE LIBRARY=
A COLLABORATION BY $ORYPHORE )NDEPENDENT
#URATORS 6ANCOUVER 0UBLIC ,IBRARY #ENTRAL
,IBRARY AND #ITY OF 6ANCOUVER 0UBLIC !RT
0ROGRAM !PERTURE BANNERS BY #AROL 3AWYER AT
THE 60, 0HOTO 2OBERT +EZIERE
0!'%
&INDING A VENUE FOR THE PROJECT
/CCASIONALLY INDEPENDENT CURATORS PRODUCE ALL ASPECTS OF
A PROJECT INCLUDING RENTING OR BORROWING SPACE UNDERTAKING
ALL THE FUNDRAISING AND EXHIBITION IMPLEMENTATIONMARKETING
!LTHOUGH THERE ARE POSITIVE ASPECTS TO THIS APPROACH
EG COMPLETE CONTROL OVER DECISIONS ABILITY TO BE MORE
SPONTANEOUS AND TO UTILIZE UNCONVENTIONAL SPACES THIS IS
AN ENORMOUS AMOUNT OF WORK AND COULD INVOLVE LIABILITIES
THAT ARE DIF½CULT FOR AN INDIVIDUAL TO TAKE RESPONSIBILITY FOR
INSURANCE ETC
4HERE IS NO DOUBT THAT AN EXHIBITION AND 4HE FOLLOWING TEXT ASSUMES THAT THE CURATOR´S
THE CURATOR CAN BENE½T ENORMOUSLY FROM PROJECT WILL BE PRODUCED BY A SINGLE GALLERY
HAVING AN INSTITUTIONAL PRODUCER OR PARTNER
-OST GALLERIES MAKE DECISIONS ABOUT THEIR
/FTEN A SINGLE PUBLIC GALLERY MUSEUM OR
EXHIBITION PROGRAM ONE TO TWO YEARS IN
ARTIST
RUN CENTRE IS ALL THAT IS REQUIRED
ADVANCE IN ORDER TO HAVE TIME TO FUNDRAISE
BUT GALLERIES WITHIN CITIES AND IN DIFFERENT
SECURE LOANS DEVELOP PUBLIC PROGRAMS
GEOGRAPHIC REGIONS CAN COLLABORATE ON
AND MORE 3OME GALLERIES BOOK EXHIBITIONS
PROJECTS FOR REASONS OF EF½CIENCY AND COST
EVEN FURTHER IN ADVANCE WHILE ARTIST
RUN
SHARING )T IS ALSO CLEAR THAT MORE AMBITIOUS
CENTRES OCCASIONALLY SCHEDULE WITHIN THE
PROJECTS INCLUDING SUBSTANTIAL PUBLICATIONS
YEAR &OR A CURATOR THE TIMELINE FOR MOST
CAN BE MORE FEASIBLE IF TWO OR MORE CO
EXHIBITIONS FROM CONCEPTION TO COMPLETION IS
PRODUCING GALLERIES ARE INVOLVED &UNDING AND
GENERALLY ONE TO THREE YEARS ALTHOUGH MORE
LABOUR RESOURCES CAN BE POOLED TO CREATE A
SPONTANEOUS PROJECTS DO ALSO OCCUR
LARGER ½NANCIAL BASE FOR THE PROJECT
/NE THING TO CONSIDER PRIOR TO APPROACHING
!N EMERGING CURATOR IS PROBABLY BEST TO
A VENUE TO PRODUCE AN EXHIBITION IS WHETHER
GET A FEW SINGLE
VENUE NON
TOURING PROJECTS
OR NOT THE PROJECT COULD TOUR FOLLOWING THE
UNDER HERHIS BELT BEFORE VENTURING INTO THE
INAUGURAL SHOW 4OUR DEVELOPMENT WORK ¯ TO
MULTI
PARTNERTOURING EXHIBITION TERRAIN &OR
FACILITATE THE CIRCULATION OF AN EXHIBITION AFTER
ONE THING CURATORIAL FUNDING FROM GOVERNMENT
THE INAUGURAL PRESENTATION ¯ CAN OFTEN TAKE
GRANT PROGRAMS WILL NOT BE FORTHCOMING
A YEAR OR MORE
UNTIL THE CURATOR HAS A GOOD TRACK RECORD OF
PRESENTING ART PROJECTS PUBLICLY
;3EE SECTION
%XHIBITION #IRCULATION=
0!'%
,EGACIES .OW #URATORIAL 4OOLKIT
2ATIONALE
/NCE THE GENERAL CONCEPT THE SCALE OF THE &AMILIARIZE YOURSELF WITH THE SELECTED GALLERY´S
PROPOSED EXHIBITION AND POTENTIAL ARTISTS PHYSICAL EXHIBITION SPACE HISTORY OF
AND POSSIBLY ARTWORKS ARE DETERMINED PROGRAMMING CURRENT ACTIVITIES AND AUDIENCE
AND ARTICULATED IN WRITTEN FORM THE CURATOR BASE )T IS ESSENTIAL TO KNOW SOMETHING ABOUT
SHOULD RESEARCH POTENTIAL PUBLIC GALLERIES TO THE GALLERY YOU ARE APPROACHING AND THIS
DETERMINE THE PREFERRED VENUE TO PRODUCE WILL HELP YOU TO DETERMINE IF THE GALLERY IS
AND HOST THE PROJECT 7HERE WOULD IT BE APPROPRIATE FOR YOUR PROJECT
APPROPRIATE TO SHOW THIS WORK
4HE MAIN POINTS TO CONSIDER
1UESTIONS TO CONSIDER 'ALLERY MANDATE
)S IT IMPORTANT THAT THE PRODUCING GALLERY 7HAT ARE THE GALLERY´S PRIORITIES IN
BE LOCAL WHERE THE CURATOR ANDOR THE TERMS OF EXHIBITIONS $OES THE GALLERY
ARTIST RESIDES OR WITHIN THE REGION SPECIALIZE IN ONE OR MORE AREAS &OR
3HOULD GALLERIES IN OTHER REGIONS OF EXAMPLE CONTEMPORARY ART EMERGING
#ANADA BE CONSIDERED ARTISTS PHOTOGRAPHY AND MEDIA ARTS THE
INTERSECTION BETWEEN IMAGE AND TEXT
)N EXCEPTIONAL CIRCUMSTANCES IS THERE A REGIONAL OR INTERNATIONAL ART ART RELEVANT
GOOD REASON FOR APPROACHING A GALLERY TO THE GALLERY COLLECTION ETC $OES YOUR
OR MUSEUM OUTSIDE OF #ANADA PROJECT ½T THE GALLERY´S MANDATE /FTEN A
&OR NEW CURATORS IT IS OFTEN BEST TO THINK GALLERY´S WEBSITE WILL PROVIDE INFORMATION
LOCALLY ON THE MISSION AND MANDATE PREVIOUS
EXHIBITIONS AND OTHER PROGRAMS AND
$EVELOP A PREFERRED GALLERY LIST IN ORDER
OCCASIONALLY THE GALLERY ¾OOR PLANS
OF PREFERENCE +EEP IN MIND THAT THE ½RST
CHOICE GALLERY MAY NOT WORK OUT FOR A WIDE
VARIETY OF REASONS )NSTITUTIONAL CONTEXT
/CCASIONALLY CURATORS WILL APPROACH TWO OR )F THE GALLERY IS PART OF A LARGER CONTEXT
MORE GALLERIES SIMULTANEOUSLY EITHER IN THE A UNIVERSITY OR ART COLLEGEINSTITUTE A
SAME CITY OR IN DIFFERENT CITIES )T IS BEST COMMUNITY CENTRE AN ARCHITECTURAL COMPLEX
TO STATE THIS IN THE COVER LETTER OR VERBALLY OR CULTURAL PRECINCT OF ARTS ORGANIZATIONS
IN ORDER THAT GALLERIES UNDERSTAND IT IS A THIS MAY OFFER EDUCATIONAL SCHOLARLY
COMPETITIVE SITUATION )T IS A MORE COMMON OR COMMUNITY ACTIVITY OPPORTUNITIES
PRACTICE HOWEVER TO APPROACH GALLERIES ONE OR AUDIENCE DEMOGRAPHICS WHICH ARE
AT A TIME WITHIN THE SAME CITY PARTICULARLY APPROPRIATE FOR THE PROJECT
0!'%
&INDING A VENUE FOR THE PROJECT
,OCATION 3TAF½NG AND EQUIPMENT RESOURCES
4HE EXHIBITION THEME MAY BE RELEVANT TO )F YOUR EXHIBITION HAS SPECIAL STAF½NG OR
THE GALLERY´S SITE OR COMMUNITY RELATED TO TECHNICAL NEEDS YOU WILL HAVE TO DETERMINE
GEOGRAPHY HISTORY CURRENT AFFAIRS ETC IF THE GALLERY CAN ACCOMMODATE THOSE
NEEDS &OR INSTANCE ½LM PROJECTION REQUIRES
EQUIPMENT NOT OFTEN INCLUDED IN GALLERY
3PACE CON½GURATION AND SIZE
INVENTORY AND MORE DAILY STAFF TIME THAN
9OUR CONSIDERATIONS WILL NEED TO INCLUDE VIDEO$6$ PROJECTION AND ARTWORKS WITH
CEILING HEIGHTS WHICH FOR SOME WORKS ARE SECURITY ISSUES WILL REQUIRE SPECIAL STAFF AND
IMPORTANT 7ILL YOUR EXHIBITION WORK WELL OR SECURITY EQUIPMENTPROCEDURES )F YOU
SPATIALLY IN THIS GALLERY 7ILL THE SPACE CANNOT DETERMINE THIS PRIOR TO SUBMITTING A
AUGMENT OR RESTRICT THE PROJECT CONCEPT PROPOSAL THESE ISSUES CAN BE RAISED IFWHEN
THE GALLERY DISCUSSES PRODUCING THE SHOW
WITH YOU
'REY $EREK "ARNETT -ICHAEL $REBERT
AND 3ARAH -ASSECAR 7ESTERN &RONT
%XHIBITIONS 6ANCOUVER
0!'%
,EGACIES .OW #URATORIAL 4OOLKIT
*AN 0EACOCK 2EADER BY THE 7INDOW
0RESENTATION (OUSE 'ALLERY
.ORTH 6ANCOUVER 0HOTO 2OBERT +EZIERE
0!'%
&INDING A VENUE FOR THE PROJECT
%XHIBITION PROPOSAL
2EVIEW YOUR EXHIBITION PROPOSAL +EEP IN ,IST OF PROPOSED OR POTENTIAL
MIND THAT GALLERIES RECEIVE MANY PROPOSALS ARTISTS IF NOT A SOLO SHOW
FOR EXHIBITIONS FROM ARTISTS CURATORS AND
"RIEF BIOGRAPHICAL PARAGRAPHS
INSTITUTIONS !N EFFECTIVE PROPOSAL PACKAGE
ON ARTISTS
WILL CAPTURE THE READER´S ATTENTION IN THE
½RST FEW MOMENTS 4HE WRITING SHOULD BE )F NO MORE THAN THREE ARTISTS ARE IN THE
CLEAR AND CONCISE YET INFORMATIVE AND WELL EXHIBITION INCLUDE A #6 FOR EACH
ORGANIZED $O NOT ASSUME THAT THE GALLERY
/NE OR TWO PUBLISHED ITEMS ON
CONTACT WILL KNOW ABOUT THE ARTISTS YOU ARE
EACH ARTIST IF AVAILABLE
PROPOSING YOU WILL NEED TO INCLUDE SHORT
DESCRIPTIONS ON THE NATURE OF THE WORK 4HESE ITEMS CAN COME FROM CATALOGUES
BROCHURES PERIODICALS ETC
0ROPOSALS TO GALLERIES SHOULD 6ISUALS FOR PROPOSED ARTISTS
INCLUDE )T IS CRITICALLY IMPORTANT TO HAVE STRONG
#OVER LETTER
WORDS VISUALS REPRESENTING THE ARTIST´S WORK $IGITAL
½LES SHOULD BE HIGH QUALITY ENOUGH TO BE
4HE PARTICULARS OF THE VENUE AND ITS
PROJECTED BUT NOT SO LARGE THAT THEY TAKE
APPROPRIATENESS FOR THE PROJECT CAN BE
TOO LONG TO LOAD 6ISUALS SHOULD BE OF WORK
ADDRESSED IN THE COVER LETTER SPATIAL
SELECTED FOR EXHIBITION OR RELATED WORK A
CONSIDERATIONS FOR THE WORKS THE RELEVANCE
#$ OF DIGITAL IMAGES IS USUALLY PREFERRED
TO MANDATE ETC 4HE LETTER SHOULD
SMALL PHOTOGRAPHS MILLIMETRE SLIDES OR
HIGHLIGHT IN SUMMARY FORM THE CONCEPT
LARGER
FORMAT TRANSPARENCIES MAY ALSO BE
FOR THE SHOW AND THE SIGNI½CANCE OF THE
ACCEPTABLE 3UBMIT A MAXIMUM OF TO
ARTISTS ANDOR ARTIST´S APPROACH 4HERE IS
IMAGES AND A NUMBERED LIST OF WORKS
A RISK OF SKIM
READING IF THE COVER LETTER IS
INCLUDING ARTIST TITLE AND DATES .OTE
LONGER THAN ONE TO ONE
AND
A
HALF PAGES
3OME FUNDING AGENCIES SUCH AS THE #ANADA
IN LENGTH
#OUNCIL WILL NOW ONLY ACCEPT DIGITAL ½LES
0ROJECT DESCRIPTION 4HE #ANADA #OUNCIL PROVIDES GUIDELINES ON
WORDS THEIR WEBSITE WWWCANADACOUNCILCA
4HIS SHOULD INCLUDE A WORKING TITLE THE #6 OF CURATOR AND ONE OR TWO
GENERAL CONCEPT AND A BRIEF DISCUSSION OF PREVIOUS ESSAYS OR PUBLICATIONS
THE ARTISTS 4HE DESCRIPTION CAN BE STRICTLY IF AVAILABLE
ABOUT THE EXHIBITION ITSELF AND NOT REFER TO
/NLY A #6 IS NECESSARY (OWEVER OTHER
THE GALLERY BEING APPROACHED IN ORDER THAT
MATERIALS CAN BE INFORMATIVE IF THE CURATOR IS
IT CAN BE USED FOR NUMEROUS SUBMISSIONS
NOT KNOWN TO THE GALLERY
)F THE PROJECT INCLUDES A SITE
SPECI½C ASPECT
THE GALLERY CAN BE REFERRED TO GENERICALLY ;3EE SECTION ON 7RITING A #6=
AND NOT BY NAME 4HE GALLERY SPECI½CS
REGARDING THE SITE
SPECI½C COMPONENTS .OTE THAT A PRELIMINARY BUDGET IS NOT
CAN BE ADDRESSED IN THE COVER LETTER REQUIRED AT THIS STAGE
0!'%
,EGACIES .OW #URATORIAL 4OOLKIT
0ROPOSAL SUBMISSION AND FOLLOW
UP
#ONTACT
$IRECT CONTACT OF SOME KIND TELEPHONE OR IN #URATORS SHOULD EXPECT TO HAVE TO FOLLOW UP
PERSON CAN BE VERY HELPFUL INITIALLY (OWEVER AND IT IS ACCEPTABLE TO REQUEST INFORMATION
SOMETIMES THE GALLERY WILL WANT TO REVIEW THE REGARDING THE STATUS OF THE PROPOSAL AFTER A
PROPOSAL BEFORE AGREEING TO A MEETING )F THE FEW MONTHS "E FOREWARNED ! GALLERY THAT
GALLERY IS IN THE CURATOR´S CITY OF RESIDENCE HOLDS ON TO A PROPOSAL FOR A LONG TIME MAY
TELEPHONE TO ARRANGE A BRIEF MEETING ANDOR STILL COME TO A NEGATIVE DECISION BUT DON´T
DELIVERY OF THE PROPOSAL )T IS BEST TO ½ND TAKE SILENCE NECESSARILY AS A ±NO²
OUT AHEAD OF TIME IF THE GALLERY IS WILLING TO
4HE GALLERY MAY REQUEST ADDITIONAL
ACCEPT A PROPOSAL )T IS POSSIBLE THEY WILL BE
INFORMATION IN ORDER TO MAKE A DECISION
UNABLE TO ACCEPT PROPOSALS AT THAT PARTICULAR
AND THIS MAY INCLUDE A FEW ½NANCIAL DETAILS
TIME DUE TO AN OVERLOAD OF PROPOSALS FOR
)F THEY ARE SERIOUS ABOUT CONSIDERING THE
CONSIDERATION AN OVERBOOKED PROGRAM ETC
PROJECT THEY MAY WISH TO MEET WITH YOU
)F THE GALLERY LOCATION IS NOT LOCAL FOR THE ANDOR DEVELOP A PRELIMINARY BUDGET PRIOR
CURATOR SEND THE PROPOSAL BY MAIL OR TO MAKING A DECISION
COURIER "E SURE THAT ANY PUBLICATIONS AND
;3EE SECTION
"UDGETING=
VISUAL MATERIALS ARE WELL PROTECTED SO THERE
IS NO DAMAGE EN ROUTE -OST GALLERIES
APPRECIATE THE INCLUSION OF A SELF
ADDRESSED 2EJECTION
STAMPED ENVELOPE 3!3% FOR THE RETURN
)F THE GALLERY DECLINES THE PROPOSAL DO
OF THE PROPOSAL SOME WILL ONLY RETURN THIS
NOT TAKE IT PERSONALLY 0ROGRAMMING A
MATERIAL IF YOU INCLUDE SUCH AN ENVELOPE
GALLERY IS A COMPLEX ENDEAVOUR AND THERE
#!54)/. )F THE PROPOSAL CONTAINS
ARE MANY FACTORS THAT A GALLERY HAS TO
MATERIALS THAT YOU VALUE AND WOULD NOT WISH
TAKE INTO CONSIDERATION WHEN DOING THIS
TO LOSE A COURIER SERVICE SHOULD BE USED
JOB )T IS IMPORTANT TO REMEMBER THAT A
REJECTION IS OFTEN IN NO WAY A COMMENT ON
'ALLERY REPLY THE VALUE OF YOUR PROJECT BUT MAY RELATE
TO GALLERY SCHEDULING ½NANCIAL RESOURCES
! REPLY WILL TAKE A FEW DAYS TO SEVERAL MONTHS
RESPONSIBILITIES TO SPECI½C COMMUNITIES
3OMETIMES IF A PROPOSAL IS OF INTEREST BUT
EXISTING COMMITMENTS TO ARTISTS AND OTHERS
THE GALLERY CANNOT COMMIT RIGHT AWAY THE
OVERALL PROGRAMMING PRIORITIES AND SEASONAL
PROPOSAL WILL BE HELD FOR MANY MONTHS EVEN
OR ANNUAL THEMES +EEP TRYING -OVE ON TO
FOR SIX TO MONTHS -OST GALLERIES WILL
THE NEXT VENUE ON YOUR LIST 4HIS IS ALSO AN
EVENTUALLY RESPOND TO A PROPOSAL (OWEVER
OPPORTUNITY TO REVIEW YOUR PROPOSAL AND
SOME RESPOND ONLY IF THEY WANT TO DISCUSS
CONSIDER WHETHER IT SHOULD BE MORE CONCISE
THE PROJECT FOR THEIR PROGRAM )F YOU REQUIRE
OR WHETHER KEY INFORMATION SHOULD BE ADDED
AN ANSWER WITHIN A CERTAIN TIME PERIOD THE
THAT MIGHT HELP WITH A GALLERY´S DECISION
COVER LETTER SHOULD STATE THIS VERY CLEARLY ±AT
YOUR EARLIEST CONVENIENCE² OR ±SOON² WILL NOT
BE EFFECTIVE
0!'%
6ENUE CON½RMATION
6ENUE
CON½RMATION
0!'%
,EGACIES .OW #URATORIAL 4OOLKIT
#ONGRATULATIONS /NCE THERE IS A COMMITMENT FROM
A GALLERY TO PRODUCE THE PROPOSED EXHIBITION THE
FOLLOWING ACTIVITIES ARE RECOMMENDED
&OLLOW
UP
3END A LETTER OF THANKS AND CON½RM YOUR OF EXPENSE QUOTATIONS ASSEMBLAGE OF ALL
COMMITMENT TO ORGANIZING THE EXHIBITION PROMOTIONAL INFORMATION ETC /THER TIMES
FOR THE GALLERY %VEN THOUGH THE TWO PARTIES THE CURATOR IS ASKED TO TAKE ON SOME OR
SHOULD ALREADY UNDERSTAND THE ARRANGEMENT MANY OF THE LATTER TASKS "E SURE THERE IS
THE LETTER SHOULD REITERATE WHETHER THIS IS AS MUCH CLARITY AS POSSIBLE ABOUT AREAS OF
A COMMITMENT TO SUPPORT RESEARCH FOR THE RESPONSIBILITY
DEVELOPMENT OF AN EXHIBITION CONCEPT WITH
4HE GALLERY´S EXPRESSION OF COMMITMENT
THE FOCUS TO BE CLARI½ED ANDOR ARTISTS
VERBAL OR IN WRITING SHOULD INCLUDE BASIC
STILL TO BE SELECTED OR TO SUPPORT THE
PROCEDURAL INFORMATION FOR THE CURATOR
PRODUCTION OF AN EXHIBITION THAT IS ALREADY
INCLUDING WHEN TO EXPECT A CONTRACT 4HE
WELL
CONCEIVED WITH ARTISTS SELECTED AND
CURATOR SHOULD ANTICIPATE A CONTRACT OR LETTER
SOMETIMES SPECI½C WORKS 4HIS IS NOT ALWAYS
OF AGREEMENT AS WELL AS A TIMELINE OR CRITICAL
CLEAR
CUT AT TIMES IT IS ASSUMED THE RESEARCH
PATH WITHIN A FEW WEEKS OF THE GALLERY´S
IS PART OF THE PRIMARY CURATORIAL FEECONTRACT
COMMITMENT TO THE SHOW 3OME GALLERIES MAY
AND NOT A SEPARATE AGREEMENT
NOT DO THIS HABITUALLY THE CURATOR IS WISE TO
3OMETIMES A CURATOR WILL BE RESPONSIBLE ASK FOR THESE DOCUMENTS IN ORDER TO AVOID
ONLY FOR CORE CURATORIAL TASKS CONCEPT MISUNDERSTANDINGS OR CON¾ICTS IN THE FUTURE
DEVELOPMENT EXHIBITION LIST CONTACT
-OST GALLERIES STILL SEND CONTRACTS IN PAPER
INFORMATION FOR ARTISTS AND LENDERS CURATORIAL
FORM VIA COURIER OR EXPRESS POST /THERS
TEXT FOR THE EXHIBITION AND THEIR PRESENCE
ARE NOW SENDING CONTRACTS BY EMAIL IN
FOR THE INSTALLATION AND OPENING 4HE GALLERY
0$& FORMAT READ
ONLY TO BE SIGNED AND
WOULD IN THIS CASE BE RESPONSIBLE FOR ALL
RETURNED IN A MORE EXPEDIENT MANNER %ACH
LOAN REQUESTS EXHIBITIONREPRODUCTION
GALLERY WILL HAVE A POLICY ABOUT THIS
PERMISSIONS NEGOTIATION OF FEES SOLICITATION
0!'%
6ENUE CON½RMATION
#URATOR´S CONTRACT OR LETTER
OF AGREEMENT AND CRITICAL PATH
4HE COMMITMENT TO PRODUCE A PROJECT 4HE DOCUMENT MAY TAKE THE FORM OF A
CANNOT BE CONSIDERED A CERTAINTY UNTIL LETTER OF AGREEMENT OR A MORE FORMAL
THERE IS A SIGNED AGREEMENT BETWEEN THE CONTRACT 4HE GALLERY MAY CHOOSE TO
PRODUCING GALLERY AND THE CURATOR SEPARATE THE RESEARCH COMPONENT IF THERE
IS ONE ACKNOWLEDGED FROM THE EXHIBITION
+EEP IN MIND THAT THE CONTRACT WILL BE WRITTEN
AND ALSO THE TOURING ANDOR PUBLICATION
FROM THE PERSPECTIVE OF THE INSTITUTION )T IS
COMPONENTS OR COMBINE ALL PHASES OF THE
UP TO THE CURATOR TO CONSIDER HERHIS OWN
WORK INTO ONE DOCUMENT
INTERESTS 4HIS MAY REQUIRE SOME DIPLOMATIC
NEGOTIATION 4HE CURATOR MAY WISH TO DISCUSS
CERTAIN CLAUSES AND PROPOSE ALTERNATIVE TERMS 0RELIMINARY RESEARCH
OR WORDING 4HE GALLERY MAY OR MAY NOT BE
)F THE AGREEMENT IS TO BEGIN WITH PRELIMINARY
¾EXIBLE IN THIS REGARD BUT SHOULD BE OPEN TO
RESEARCH ONLY WITH ANY FURTHER COMMITMENT
RECEIVING INQUIRIES
DEPENDENT ON THE RESULTS OF RESEARCH OFTEN
4HE NEGOTIATIONS CAN ADDRESS WHETHER THE A SIMPLE LETTER OF AGREEMENT WILL BE USED
GALLERY IS WILLING TO SUPPORT THE IDEA OF
7HETHER A LETTER OR A CONTRACT IT USUALLY
TOURING THE EXHIBITION ANDOR PRODUCING
INCLUDES THE FOLLOWING
A PUBLICATION )S THE GALLERY PREPARED TO
EXPLORE POTENTIAL VENUES FOR A TOUR AND ! WORKING TITLE FOR THE PROJECT AND A BRIEF
OR FUNDRAISE FOR A PUBLICATION WITH THE ½NAL DESCRIPTION OF THE CONCEPT
DECISION DEPENDENT ON RESULTS )T IS HELPFUL
! TIMELINE FOR RESEARCH WHICH MAY INCLUDE
TO KNOW EARLY ON WHAT SCALE OF SUPPORT THE
ANTICIPATED TRAVEL IF APPLICABLE DUE
GALLERY IS CONSIDERING )F THESE TERMS CANNOT
DATES FOR AN INTERIM REPORT ANDOR A ½NAL
BE CON½RMED AT THIS STAGE AN INDICATION
EXHIBITION PROPOSAL
OF INTENT CAN BE REQUESTED ! STATEMENT
OF INTENT MAY BE INCLUDED IN A COVER LETTER ! DESCRIPTION OF WHAT IS REQUIRED FOR THE
RATHER THAN IN THE CONTRACT FOR THE CURATOR COMPLETED EXHIBITION PROPOSAL WHICH
.OTE THAT MANY GALLERIES DO NOT NORMALLY USUALLY INCLUDES A DETAILED CONCEPT
TOUR EXHIBITIONS OR PUBLISH CATALOGUES DESCRIPTION LIST OF WORKS LOGISTICAL
4HERE IS ALWAYS A ½RST TIME HOWEVER SO IT INFORMATION IE TECHNICAL REQUIREMENTS
DOES NOT HURT TO ASK 3OME GALLERIES WILL LOCATION OF WORKS TO BE BORROWED AND
EAGERLY EMBRACE AN AMBITIOUS VISION FOR A DETAILED BUDGET
A PROJECT !GREED
UPON FEES AND EXPENSES AND A
PAYMENT SCHEDULE
! STATEMENT THAT THE GALLERY´S OBLIGATION
TO PRODUCE THE EXHIBITION IS CONTINGENT
ON APPROVAL OF THE ½NAL EXHIBITION PROPOSAL
0!'%
,EGACIES .OW #URATORIAL 4OOLKIT
-ARIANNE .ICOLSON "AKWINA@TSI THE
#ONTAINER FOR 3OULS !RTSPEAK
'ALLERY 6ANCOUVER #OLLECTION OF THE
6ANCOUVER !RT 'ALLERY 0HOTO 3COTT
-ASSEY COURTESY OF !RTSPEAK
0!'%
6ENUE CON½RMATION
%XHIBITION PRODUCTION &INANCIAL COMMITMENTS
! MORE FORMAL CONTRACT IS GENERALLY USED TO !NY ADDITIONAL ½NANCIAL COMMITMENTS
OUTLINE THE TERMS FOR A CLEARLY DE½NED SHOULD BE DETAILED &OR EXAMPLE WILL THE
EXHIBITION 4HE CONTRACT WILL INCLUDE DETAILS GALLERY PROVIDE ADMINISTRATIVE FUNDS FOR
ABOUT AREAS OF RESPONSIBILITY FOR BOTH THE THE CURATOR´S COSTS SUCH AS FAX PHONE
GALLERY AND THE CURATOR COURIERS COPYING IMAGE SCANS OR SLIDE
DUPLICATION ETC USUALLY A FEW HUNDRED
DOLLARS 7ILL THE GALLERY COVER CURATORIAL
4HE CONTRACT SHOULD INCLUDE
TRAVEL COSTS IF DETERMINED TO BE NECESSARY
"ASIC INFORMATION 2EIMBURSEMENT FOR TRAVEL COSTS IS USUALLY
PROVIDED UPON SUBMISSION OF INVOICES
4HE CONTRACT WILL INCLUDE THE EXHIBITION TITLE
AND RECEIPTS
OR WORKING TITLE PUBLIC EXHIBITION DATES AT
THE GALLERY DATES MAY BE TENTATIVE AND A
BRIEF DESCRIPTION OF THE PROJECT ALONG WITH #RITICAL PATH OR TIMELINE
THE TYPE OF EXHIBITION GROUPSOLO AND THE
4HIS CAN BE PRESENTED IN THE FORM OF A
NAMES OF ARTISTS IF KNOWN
CHRONOLOGICAL LIST REFERRING TO DELIVERABLES
#URATORIAL FEE TOTAL WITH DEADLINES ANTICIPATED TRAVEL AND OTHER
SCHEDULING POINTS 4HE GALLERY MAY ASK THE
#LARITY AROUND THE ISSUE OF FEES AND WHAT IS
CURATOR TO PREPARE AN INITIAL DRAFT FOR THIS
REQUIRED IN EXCHANGE IS ESSENTIAL ! SCHEDULE
TIMELINE 4HIS DOCUMENT IS OFTEN SENT AS AN
OF CURATORIAL FEE PAYMENTS IS USUALLY RELATED
ADDENDUM WITH THE CONTRACT ! DEADLINE WILL
TO SPECI½C RESULTS OR DELIVERABLES MATERIALS
BE SET FOR THE DELIVERY OF A ½NAL EXHIBITION
REQUIRED AND ACTIVITIES TO BE COMPLETED BY
LIST OFTEN CALCULATED BACKWARDS FROM THE
CERTAIN DATES 3OMETIMES THE ½RST INSTALLMENT
DEADLINE OF THE EXHIBITION ITSELF USUALLY SIX TO
IS PAID UPON RECEIPT OF A SIGNED CONTRACT
MONTHS PRIOR TO OPENING DATE
;3EE SECTION ON .OTES ON
#URATORIAL &EES= #,)#+ (%2% &/2 $/7.,/!$!",% 0$&3
/& 47/ 3!-0,% #52!4/2 #/.42!#43
!.$ #2)4)#!, 0!4( /2 3%% 0!'%3
%XPECTATIONS
4HE CONTRACT SHOULD INCLUDE ANY ADDITIONAL #ANCELLATION TERMS
EXPECTATIONS OF THE CURATOR SUCH AS THE
3OME CONTRACTS INCLUDE A TERMINATION FEE
PROVISION OF A CURATORIAL LECTURE GALLERY TOURS
TO BE PAID TO THE CURATOR IF THE GALLERY MUST
OF THE EXHIBITION FOR GALLERY STAFFDOCENTS
CANCEL THE PROJECT 4HIS SHOULD BE MANDATORY
TEXTS FOR MARKETING TOOLS AND MORE
FOR LARGE PROJECTS AS A CANCELLATION RESULTS
)F THE CURATOR HAS SPECI½C EXPECTATIONS FOR THE IN LOSS OF SUBSEQUENT REVENUE FOR THE
EXHIBITION THAT AFFECT OR DEPEND ON IN
HOUSE CURATOR )T ALSO ACKNOWLEDGES THAT THERE IS
ACTIVITIES THESE SHOULD BE ADDRESSED 4HESE A CONSIDERABLE AMOUNT OF CURATORIAL WORK
MIGHT INCLUDE SPECIAL CONSIDERATIONS REGARDING DONE ON SPECULATION FOR MANY MONTHS PRIOR
DIDACTICS WALL LABELS INTRODUCTORY STATEMENT TO DETERMINING IF A PROJECT WILL PROCEED WITH
ETC BROCHURES EXHIBITION DESIGN ADVERTISING THE SUPPORT OF AN INSTITUTION AND IT WILL ALSO
AND PUBLIC RELATIONS EDUCATION PROGRAM ETC TAKE SOME TIME TO DEVELOP A NEW PROJECT OR
HOWEVER MANY OF THESE DETAILS WILL NOT HAVE ½ND A NEW PARTNER TO ½LL THE GAP CAUSED BY
BEEN CONSIDERED AT ALL YET THE CANCELLATION 4HE CONTRACT TERMS WILL ALSO
ADDRESS WHAT HAPPENS IF THE CANCELLATION IS
CAUSED BY THE CURATOR
0!'%
;TO BE PRINTED ON GALLERY LETTERHEAD= Guest Curator Contract
Between [Name of Gallery] (the Gallery)
and [Name of Curator] (Guest Curator)
[The Gallery] agrees to engage the services of [Name of curator] as Guest Curator to develop and
assemble an exhibition entitled [title] to be held at the [name of Gallery] for the dates [exhibition
dates]. The general concept for this exhibition, as proposed by the Guest Curator, has been accepted by
the Gallery. It is understood that this concept will not change without approval of the Gallery.
I. The general responsibilities of the Guest Curator shall be as follows:
1. Assembling Works: To provide all necessary information for loans from artists, individuals, or other
institutions and to obtain, with the assistance of the Gallery, all necessary permissions and releases for
the exhibition and transit period(s). The Gallery will forward loan agreements to artists and institutions as
instructed by the Guest Curator.
2. Installation: To devise a concept for the installation of the exhibition and provide the Gallery well in
advance all technical and material requirements for the installation. To consult with the Gallery on all
plans for installation, and to personally supervise the installation of the exhibition. To provide all support
material in electronic format for the exhibition such as a didactic panel [# words], labels, artist statements
and biographies.
3. Wall / newsletter Text: To provide the Gallery with a [500] word text about the exhibition for
publication in its newsletter [title of newsletter], and/or use as a didactic wall panel, by [date].
4. Artist Fees: To forward to the Gallery full names of participating artists, their addresses including
postal codes, social insurance numbers where necessary, by [date], so that the payment of artist's fees
can be expedited.
5. Budget: To keep within the constraints of the exhibition budget and to discuss with both Directors and
Curators any potential discrepancies as the project progresses. The Gallery must authorize all
expenditures in advance and in writing. Unauthorized expenditures will be the responsibility of the Guest
Curator.
6. Liaison between the Gallery and Artists: To act as primary contact for artists in the exhibition and to
be available at reasonable times for consultation with the Head of Public Programs, who will be
responsible for exhibition animation.
7. Public Programs and Public Relations: The Guest Curator will assist in developing a promotional
plan and will be available for any reasonable requests for press interviews. She/he will also agree to
provide information as requested for the Gallery’s media release [# words]; brief the Gallery's staff about
the exhibition; and assist with research for background material on the exhibiting artists for a binder for
the exhibition space.
8. Ancillary Activities: Arrangements for any other activities will be made separately. Discussion will
take place separately with the Gallery’s Head of Public Programs about possible educational and ancillary
events.
9. Return of Work: To provide the Gallery with relevant information concerning artists and lenders to
enable the Gallery to make transportation arrangements for the return of artwork.
10. Catalogue [if applicable]: To plan the catalogue for the exhibition, working with staff from the Gallery,
and provide a general concept and instructions for design, obtain photographic material and requisite
reproduction clearance, artist's biographies in ready-to-publish format, a list of works in the exhibition
(metric format), photographic captions, credits and any other necessary catalogue information. To write
an essay not more than [#] words discussing the concept, the works in the exhibition, and to provide
clean electronic copy of the material ready for publication. The final text of the catalogue must be in the
hands of the Gallery on or before [date]. A termination fee of [$___] will be offered if the Gallery chooses
not to publish the text.
0!'%
11. Copyright: The Gallery commissioned the text from the Guest Curator. The Guest Curator will hold
the intellectual property rights and grant reasonable use of the material to the Gallery. Both parties will
require permission from the other party if they wish to re-publish the essay in the future. The copyright for
photographs used in the catalogue remains with the artists and/or photographers.
12. Circulation: Given interest from other galleries in presenting the exhibition, the Guest Curator will
provide all necessary text material for use in [funding agency] grant application(s) to help with the
circulation of the exhibition and the publication. Should the exhibition tour, the guest curator will be paid a
curator's fee, an installation fee, and accommodation, travel and per diem as related to the tour. A specific
budget as well as a separate written agreement with the Guest Curator will be prepared in the event of
confirmation of a tour.
13. Fee and Work Schedule: Provided all anticipated funding is obtained and received as planned, and
provided all other conditions herein have been met to their satisfaction, the Gallery will pay the Guest
Curator a fee of [$___ ] payable as follows and following the general work schedule for the project:
$ 1. Upon signing of contract; for project research [if applicable]
$ 2. Upon receipt and approval of final exhibition proposal, due [DATE]
$ 3. Upon receiving final newsletter text (didactic panel), due [DATE]
$ 4. On installation and opening of exhibition
$ 5. Fee for Curatorial talk
$ 6. Installation fee/day (not to exceed [#] days)
$ 7. Upon receiving final edited essay for publication [If applicable]
II. The general responsibilities of the Gallery shall be as follows:
14. The Gallery will prepare and send the official loan forms to secure artworks for the length of the
exhibition. In addition, the Gallery will arrange for the packing, shipping and return of the works.
15. Installation: To provide required technical assistance, preparation, and all other requirements for the
installation of the exhibition.
16. Fees: To ensure payment of all artist fees and Guest Curator's fees and reimbursements for services
and materials according to the budget. The Gallery will ensure payment of travel costs (economy), per
diem [$___]/day and accommodations for the guest curator for approved travel.
17. Promotion: To be responsible for all promotion and publicity for the exhibition.
18. Administration: To provide adequate administrative support to the Guest Curator for the completion
of the project and any grant applications.
19. Catalogue: To oversee the production of the catalogue from the Guest Curator's concept and
materials including working with designers and printers, final editing of material, and proofreading. The
Gallery reserves final editorial rights over all accepted written material. The Guest Curator will receive [#]
free copies of the catalogue and each artist will receive [#] copies.
20. Termination of agreement: This agreement can be terminated with a 60 day notice period by either
party for failure to fulfill the terms of the agreement with appropriate payment for work completed. If the
agreement must be terminated due to circumstances beyond the control of either party, neither will be
penalized nor held responsible.
21. If the Gallery terminates the agreement due to circumstances having nothing to do with the Guest
Curator, the Gallery will pay for work done according to the schedule of fee payments linked to
deliverables, and as well, a termination fee to compensate for loss of subsequent income.
[Note: A termination fee is not necessarily common practice but may be requested.]
21. In the event of a dispute between any of the parties, the parties all agree that the initial recourse is to
seek arbitration rather than taking legal action. A mutually agreeable arbiter would be selected by the
parties to conduct the arbitration.
22. Both parties agree to carry out all other responsibilities to ensure the excellence and timely
completion of the project.
0!'%
A critical path, Schedule A, is attached and is considered part of this contract.
Signatures:
Signed on behalf of
[Name of Gallery]
_________________________________________ ___________________
[Name], Director or Chief Curator Date
_________________________________________ ___________________
[Name], Guest Curator Date
[Gallery name]
[Gallery address]
[Gallery contact information]
0!'%
;TO BE PRINTED ON GALLERY LETTERHEAD=
Curatorial Agreement
Between [Gallery name],
henceforth known as the “Gallery”
and
Curator under Contract [curator name],
henceforth known as the “Curator”
[Gallery name] intends to present an exhibition of art works entitled [exhibition title] and the
parties agree together as follows:
[Curator name] agrees to undertake research and curatorial duties on [title] in relation to the
organisation of an exhibition to be held at [Gallery] from [dates].
RESPONSIBILITIES: EXHIBITION
1. The Curator will liaise with Gallery Contact, [Name], regarding works for the exhibition and, as
necessary, issues arising from loan requests regarding budget, conservation, photography,
equipment, shipping, facility reports, insurance arrangements etc.
2. The Curator will undertake preliminary negotiations regarding all loans on behalf of the Gallery
with lending institutions and individuals and will respond to all inquiries regarding selection and
suitability of the works. The Gallery will respond to all inquiries regarding practical aspects of
packing and shipping, insurance, environment, etc. that are the responsibilities of the institution.
3. The Curator shall, on or before [date], determine all artworks and the conditions of loans that
comprise a complete list of all confirmed items to be exhibited in the exhibition. This list of
exhibition content must provide titles, media, dates, dimensions (in centimetres; height preceding
width preceding depth), and the name, street and email address and telephone number of each
lender. These lists will be provided to the gallery in hard copy and digital format.
4. The Gallery will send formal institutional loan requests and forms to all lenders in a timely
manner to officially confirm loans. In the case of borrowing work from other institutions, the
Gallery will send requests as soon as possible after the curator provides information regarding
the artwork to be requested, in order to determine the feasibility of the loan.
5. The Gallery will make appropriate shipping arrangements once all signed loan forms are
received.
6. The Curator will advise the Gallery of any special installation or conservation requirements for
accepted works.
7. The Curator will discuss the exhibition’s installation considerations with the Gallery Contact at
all stages.
8. The Curator will identify and make necessary arrangements with the artists and lenders to
obtain the necessary photographs/digital images for web site use and will apprise the gallery of
any approximate costs before undertaking final arrangements.
9. The Gallery will provide reproduction quality installation photos for agreed upon works for
publication and/or web site and reasonable visual documentation of the exhibition for the curators’
records.
0!'%
10. [Exhibition title], as proposed, is recognized as the intellectual property of the Curator and the
Curator can remount the exhibition elsewhere with appropriate credit for the Gallery as producers
of the initial version. If the Gallery is unable for any reason to mount the exhibition as agreed, the
Curator can mount it elsewhere. The Gallery will not subsequently produce the exhibition in whole
or in part, without the written agreement of the Curator.
[May also include the following item:]
11. The Gallery intends to produce a print publication specifically for [Exhibition title] as
conceived by the Curator. [Include anticipated publication date, items required from the Curator,
and who will be responsible for catalogue coordination.]
FEES AND EXPENSES
12. In consideration of the satisfactory performance of the terms of this contract the Gallery shall
make payment to the Curator for curatorial work & travel.
Exhibition Fee
Upon signing of contract $
Upon receipt of preliminary exhibition list $
and project description following research
Upon receipt of confirmed exhibition list $
and provision of basic PR texts, label info, etc.
Upon opening of exhibition $
plus installation fees as budgeted $
Writing Fee [if applicable] $
payable upon receipt of curatorial essay
Total: $
Travel & accommodation
Research travel [if applicable] $
Opening & Installation $
Total: $
13. Travel/Expense
Cash advances for travel to be undertaken can be made available upon the Curator’s request to
the Gallery, or reimbursement made concluding travel, for receipts for expenses incurred. All
travel/administrative expenses require receipts. The Gallery will assume the cost of relevant
travel with respect to accommodation, transportation, taxi, meals, etc., provided such travel is
authorised in advance.
The Gallery will reimburse the Curator for out-of-pocket expenses for long distance calls,
couriers, postage, reproducing images, copying and printing associated with the project,
according to an agreed upon maximum.
It is understood that the Gallery is not responsible for unauthorised expenditures incurred by the
Curator.
TERMINATION:
It is understood and agreed that this contract shall remain in force unless it is terminated under
the following conditions
14. The Gallery may terminate the contract if there is sufficient cause for doing so. The phrase
'sufficient cause’ means: Failure to comply with any of the conditions of the contract; Inability for
any reason to continue the research contracted; Conduct of the Curator, which is prejudicial to
the interest of the Gallery.
0!'%
15. The Curator may terminate the contract if the Gallery fails to comply with its contractual
obligations in ways that threaten the completion of the project; or if there is an inability for any
reason to continue the research contracted.
16. Either party may terminate this agreement by giving the other party 14 days notice after which
this agreement terminates. If the agreement is terminated prior to term, the Gallery shall pay the
Curator for services performed in accordance with this agreement within 14 days after the
effective date of termination.
17. In the event of termination of this contract by the Curator or the Gallery the fees will be paid
as per the completion of the work accomplished to that date under the terms of the contract. If the
project is cancelled by the Gallery before completion and due to no fault of the curators, along
with the fees due for work, the Gallery will pay a one-time fee for compensation of lost work and
opportunity of [$___ ].
18. In the event that any part of this agreement on the part of the Curator or the Gallery shall be
prevented by an Act of God, physical disability, the acts or regulations of duly constituted public
authorities, strike, civil tumult, war, epidemic, interruption or delay of transportation services or
other cause beyond their control, each shall be relieved of their obligations hereunder during the
period such prevention exists. It is understood and agreed that there shall be no claim for
damages by either party of this agreement;
19. REPRESENTATION:
It is understood that the Curator is not an agent of the Gallery with the exception of negotiating
loan and photographic agreements with respect to [Exhibition title] and has no authority to make
other contracts or representations on behalf of the Gallery.
INSURANCE:
20. The Gallery will provide coverage for the Curator under their professional liability insurance
policy for the term of the Curator’s work on [Exhibition title] for the Gallery.
[Note: More commonly, the Curator is responsible for her/his own liability insurance.]
21. It is understood that there shall be no waiver or modification of any of the terms of this
contract except in the form of a written amendment, which has been signed by both parties; It is
understood that this contract may not be assigned or sublet in whole or in part.
Signatures:
[Gallery name] ______________________________________
______________________________________
[print name and title]
Date: _________________________________
Curator under Contract ______________________________________
______________________________________
[print name]
Date: _________________________________
[Gallery name]
[Gallery address]
[Gallery contact information]
0!'%
Schedule A
Critical Path
[Exhibition Title]
[Gallery name]
Dates in left column provide a sample timeline for tasks. Time span for tasks can vary substantially.
Asterisk items [*] relate to catalogue; may not be relevant to the agreement.
Year One:
January - November Curatorial research and project development, following confirmation of
agreement with Gallery and signing of contract
December 1 Curator to provide final list of works, complete with title, medium, size (in
metric) and insurance values; list of addresses of lenders, complete with postal
codes and fax/phone numbers; requirements for installation (equipment, spatial
needs, etc.)
September 15 Gallery: Grant application(s) for [funding source(s)]
Year Two:
January 15 Copy for newsletter [# words] to be provided by Curator. Curator to supply
images for newsletter, to be produced by Gallery.
January 30 Gallery issues loan forms
Gallery initiates shipping and insurance arrangements
May 1 Images proposed by Curator and copyright negotiated for publication
and promotion by the Gallery. Curator and artists’ biographical texts provided
by Curator
May 1 *Curator’s final draft of catalogue text submitted to the Gallery
May 15 *Edited draft submitted to Curator
May 20 *Curator to submit final text with revisions in electronic format; include all
photographic material required for publication
June 1 *Final essay and other materials [and translations if relevant] sent to Curator by
Gallery. All materials sent by Gallery to designer including photography.
June 15 Shipping arrangements for artworks finalized by Gallery
July Arrangements made by the Gallery for artists'/curator's travel and
accommodation
July Gallery prepares press release and produces invitations
July 30 Curator submits names and addresses for invitations (with postal codes)
August Gallery: Invitations mailed
August 15 Gallery: Prepare fee cheques for artists, others
Week of August 15 Arrival of shipped work at Gallery; *arrival of catalogues
Final week of August Installation of exhibition. Curator will be available this week to talk to
animateurs and staff about the project. Date(s) and time to be confirmed with
Public Programs
September 2 Exhibition opening; Curator present
September 3 Curator's talk at Gallery
Late Sept/October Arrangements made for installation photography
November 7 - 9 Dismantlement and dispersal of exhibition
0!'%
#OMPLETING THE PROJECT CONCEPT AND ARTIST SELECTION
#OMPLETING THE
PROJECT CONCEPT
AND ARTIST SELECTION
0!'%
,EGACIES .OW #URATORIAL 4OOLKIT
/NCE THE CURATOR HAS CON½RMED A PRODUCING
GALLERY AND HAS RECEIVED A CONTRACT FOR THE WORK
SHEHE CAN PROCEED WITH COMPLETING WORK ON
THE EXHIBITION CONCEPT AND THE SELECTION OF ART
4HIS MAY TAKE MANY MONTHS
#ONTINUE DOING RESEARCH AND FOLLOW UP OF AN ART PRACTICE OR A HISTORICAL OR SOCIAL
STUDIO AND GALLERY VISITS ANDOR OTHER PHENOMENON THE CURATOR SHOULD WEIGH
COMMUNICATIONS WITH ARTISTS AND REVIEW THE REPRESENTATION OF GENDERS AND CULTURES
ARTWORKS UNDER CONSIDERATION OF LOCALNATIONALINTERNATIONAL ARTISTS AS
IS RELEVANT TO THE PROJECT THE RANGE OF
$EVELOP A WORKING TIMELINE BASED ON
MEDIUMS AND OTHER PERTINENT FACTORS
THE CRITICAL PATH MENTIONED ABOVE THAT
INCLUDES ADDITIONAL CURATORIAL PROJECT ;3EE SECTIONS =
MANAGEMENT TASKS WITH ACHIEVABLE DEADLINES
4HE CURATOR WILL NEED TO SECURE AGREEMENTS
+EEP THE LIST HANDY AND CHECK IT REGULARLY
IN PRINCIPLE REGARDING THE LOAN OF ARTWORK
#ONSIDER THE THEMATIC SECTIONS OF THE SOMETIMES PRIOR TO ½NALIZING THE EXHIBITION
EXHIBITION THAT YOU WISH TO REPRESENT THIS LIST OR GETTING THE ½NAL APPROVAL OF THE GALLERY
CAN BE RELEVANT FOR A SOLO SHOW AS WELL 4HE PROCEDURE FOR THIS IS VERY SIMILAR TO
AS GROUP EXHIBITIONS AND WHAT KIND OF MAKING A FORMAL LOAN REQUEST AND IS BEST
BALANCE YOU WISH TO HAVE OVERALL &OR GROUP DONE IN WRITING 4HE LETTER SHOULD INCLUDE A
EXHIBITIONS IN ADDITION TO REPRESENTING STATEMENT THAT THE CURATOR IS IN THE PROCESS
DISTINCT IDEAS THAT ALLOW DIVISIONS WITHIN OF SECURING A PRODUCING VENUE AND WISHES TO
THE EXHIBITION OR ANOTHER ORGANIZING CHECK ON THE ARTIST´SLENDER´S WILLINGNESS TO
PRINCIPLE ¯ FOR INSTANCE ONE THAT RELIES ON A PARTICIPATE AND THE AVAILABILITY OF THE ARTWORK
CHRONOLOGICAL FORMAT TO CONVEY THE EVOLUTION BEFORE ½NALIZING THE EXHIBITION PROPOSAL
-AKIKO (ARA #ANDICE (OPKINS
INSTALLING ,IDA !BDUL EXHIBITION
#ENTRE ! 6ANCOUVER
0HOTO BY $EBRA :HOU
0!'%
#OMPLETING THE PROJECT CONCEPT AND ARTIST SELECTION
4HE ARTIST ¯ INVITATIONS TO PARTICIPATE
AND PRELIMINARY LOAN REQUESTS
!RTISTS SHOULD BE ADVISED OF AND APPROVE )F AN ARTIST DOES NOT WISH TO BE INCLUDED IN AN
THE INCLUSION OF THEIR WORK IN AN EXHIBITION EXHIBITION THEIR DECISION MUST BE RESPECTED
EVEN IF THE WORK IS NOT COMING FROM THEM REGARDLESS OF THE FACT THAT ALTERNATIVE LOANS OF
4HE CURATOR WILL DO THIS EITHER INFORMALLY BY THEIR WORK MIGHT BE POSSIBLE
TELEPHONE OR FORMALLY BY EMAIL OR REGULAR
)F THE EXHIBITION IS A GROUP SHOW IT IS LIKELY
MAIL TO CON½RM THEIR INTEREST )F THE CURATOR
THAT ARTISTS WILL WANT TO KNOW WHO ELSE
IS NOT WELL KNOWN TO THE ARTIST OR THE
WILL BE INCLUDED )NDICATE IN YOUR LETTER
DEALERAGENT REPRESENTING THE ARTIST THIS
ANY ADDITIONAL ARTISTS WHO ARE CON½RMED
COMMUNICATION IS OFTEN BEST INITIATED IN
OR UNDER CONSIDERATION 4HIS IS A DELICATE
WRITTEN FORM IN ORDER TO INCLUDE INFORMATION
MATTER AS IT IS NOT CONSIDERED APPROPRIATE
ABOUT THE CURATOR AND THE PROJECT
TO CITE ARTISTS´ NAMES UNLESS IT IS VERY LIKELY
)T IS ESSENTIAL TO TREAT THIS INITIAL LETTER AS A OR CERTAIN THEY WILL AGREE TO PARTICIPATE
PROPOSAL IN WHICH YOU ARE EFFECTIVELY MAKING 3IMILARLY IF THE ARTISTS ON YOUR EXHIBITION
A CASE FOR THE ARTIST´S PARTICIPATION 4HE LIST CHANGE SUBSTANTIALLY AFTER SECURING
CURATOR´S CREDENTIALS SHOULD BE CONCISELY APPROVALS THE INITIAL ARTISTS WHO AGREED
STATED THIS CAN BE DONE WITH A PARAGRAPH SHOULD BE INFORMED OF THE CHANGES
IN THE LETTER AND AN ATTACHED PROFESSIONAL
/BVIOUSLY IF THE ARTIST IS ALSO THE LENDER OF
BIOGRAPHY IN PARAGRAPH FORM OR A #6 !S
THE ARTWORK A SINGLE LETTER CAN ADDRESS BOTH
WELL THE PRODUCING GALLERY´S DETAILS AND
THE REQUEST FOR PERMISSION FOR INCLUSION IN
CREDENTIALS SHOULD BE OUTLINED !RTISTS MUST
THE PROJECT AND THE LOAN OF SPECI½C WORK
CAREFULLY CONSIDER THEIR DECISIONS FOR THE
PRESENTATION OF THEIR WORK !NTICIPATING IN
ADVANCE WHAT THEIR CONCERNS MIGHT BE WILL
OFTEN HELP SECURE A POSITIVE RESPONSE
)NSTITUTIONS AND CORPORATE
INDIVIDUAL COLLECTORS
0RELIMINARY REQUESTS FOR LOANS OF ART WILL AN INFORMAL INQUIRY REGARDING AVAILABILITY
NEED TO BE MADE TO PUBLIC INSTITUTIONS OF ARTWORK IT MAY BE COMMITTED TO
AND CORPORATE OR INDIVIDUAL COLLECTORS WELL ANOTHER PROJECT DURING THE RELEVANT TIME
IN ADVANCE MOST INSTITUTIONS REQUIRE A PERIOD (OWEVER THE FORMAL LOAN REQUEST
MINIMUM OF SIX TO TWELVE MONTHS NOTICE SHOULD BE PREPARED AND SUBMITTED BY THE
)T IS OFTEN WISE FOR THE CURATOR TO MAKE PRODUCING GALLERY AND CONSULTATION WITH
0!'%
,EGACIES .OW #URATORIAL 4OOLKIT
THEM REGARDING YOUR PRELIMINARY INQUIRY )NFORMATION ABOUT THE VENUE WILL BE
IS APPROPRIATE 9OUR LOAN INQUIRY WILL NEED IMPORTANT ESPECIALLY IF THE POTENTIAL LENDER
TO OUTLINE YOUR CREDENTIALS IN ADDITION TO IS OUTSIDE OF THE REGION IN WHICH THE VENUE
THE PROJECT´S INTENT /F PARTICULAR CONCERN IS LOCATED 0ROVIDING THE GALLERY´S WEBSITE
WILL BE THE CURATORIAL RATIONALE FOR INCLUDING ADDRESS CAN BE HELPFUL 7ITHIN THE LETTER A
THIS PARTICULAR WORK IN THE PROJECT AS WELL SENTENCE OR MORE HIGHLIGHTING SOME OF THE
AS ISSUES AROUND CONTEXT AND SECURITY AND GALLERY´S PREVIOUS EXHIBITIONS WILL ALSO BE
ENVIRONMENTAL CONTROLS FOR THE ART INFORMATIVE +EEP IN MIND THAT INSTITUTIONAL
POLICIES ARE SOMETIMES NEGOTIABLE
;3EE SECTION !RTISTS !GREEMENTS AND ,OAN
.EGOTIATIONS=
2ESPONSES TO LOAN REQUESTS
! NEGATIVE RESPONSE 3OME THINGS TO WATCH FOR
)F THE CASE FOR A LOAN WAS WELL PRESENTED AND )NSURANCE
THERE IS NO CHANCE THE ARTIST OR LENDER WILL
(IGH INSURANCE VALUES ANDOR AN UNUSUALLY
CHANGE HIS OR HER MIND THE CURATOR SHOULD
HIGH NUMBER OF ARTWORKS MAY REQUIRE
MOVE ON TO OTHER OPTIONS
THAT THE PRODUCING GALLERY SECURE TOP
UP
)F A LENDER DIFFERENT FROM THE ARTIST DOES INSURANCE COVERAGE FOR THE TRANSPORT AND
NOT WISH TO LEND A WORK BUT THE ARTIST AGREES OR PRESENTATION OF THE EXHIBITION 4HIS
TO BE INCLUDED IN THE PROJECT THE CURATOR WILL BE AN ADDITIONAL COST FOR THE PROJECT
MAY EXPLORE THE AVAILABILITY OF OTHER SUITABLE BUDGET AND CAN BE SUBSTANTIAL DEPENDING
WORKS 4HE ARTIST AND THEIR DEALERS WILL BE ON THE VALUE OF THE ART 3OME LENDING
THE BEST INFORMED INDIVIDUALS TO RECOMMEND INSTITUTIONS WILL WISH TO COVER THE INSURANCE
OTHER POTENTIAL WORKS AND SOURCES /THERWISE THROUGH THEIR OWN POLICY AND WILL CHARGE THE
)NTERNET SEARCHES ON MUSEUM AND GALLERY BORROWING GALLERY FOR THIS EXPENSE
WEBSITES ANDOR COMMUNICATION WITH
THOSE INSTITUTIONS TO INQUIRE ABOUT WORKS
#RATING AND FRAMING
BY THE ARTIST MAY REVEAL ART THAT WILL ½T THE
PROJECT´S REQUIREMENTS 3OME LENDERS WILL ALREADY HAVE A CRATE THAT
CAN BE MADE AVAILABLE FOR THE ARTWORK AND
THE WORK MAY BE READY TO INSTALL FRAMED OR
! POSITIVE RESPONSE
WITH THE NECESSARY MOUNTING DEVICE PLINTH
/NCE THE LENDER OF AN ARTWORK AGREES TO ETC /THER LENDERS WILL CHARGE FOR THE COST
A REQUEST IT IS ADVISABLE TO INQUIRE ABOUT OF EXISTING OR NEW FRAMING ANDOR CRATING OR
WHETHER THERE ARE ANY SPECIAL REQUIREMENTS ASK THAT THE BORROWER LOOK AFTER ARRANGING
RELATED TO THE LOAN 0UT PLAINLY WILL THERE ANDOR PAYING FOR THESE TASKS
BE ANY COSTS TO THE BORROWING GALLERY
ASSOCIATED WITH THE LOAN
0!'%
#OMPLETING THE PROJECT CONCEPT AND ARTIST SELECTION
3ECURITY 4HE ARTISTSLENDERS WILL LIKELY HAVE
QUESTIONS 7ILL THERE BE A PUBLICATION
!RTWORKS FROM LARGER INSTITUTIONS ESPECIALLY
7ILL THE EXHIBITION TOUR AND IF SO WHERE
THOSE WORKS WITH VERY HIGH VALUES MAY
TO !LTHOUGH THE ANSWERS TO QUESTIONS
REQUIRE SPECIAL SECURITY MEASURES SUCH AS
LIKE THESE ARE NOT ALWAYS AVAILABLE AT THE
STANCHIONS SECURITY CAMERAS MONITORS
BEGINNING OF A PROJECT THEY CAN OCCASIONALLY
ANDOR SECURITY GUARDS OR STAFF IN THE GALLERY
BE THE DECIDING FACTOR FOR POTENTIAL LENDERS´
DURING ALL PUBLIC HOURS
DECISIONS )F AN EXHIBITION TOUR IS PLANNED
LENDERS WILL USUALLY NEED TO SEE FACILITY
4RANSPORT OF WORKS REPORTS FOR EACH VENUE
-OST LENDERS WILL INSIST ON A ½NE ART TRANSPORT /NCE YOU HAVE WORKED OUT A CLEAR PLAN
COMPANY FOR THEIR WORK WHICH IS MUCH MORE A DETAILED PROJECT DESCRIPTION WITH ½NAL
COSTLY BUT GENERALLY SAFER THAN A REGULAR SELECTED ARTISTS WILL NEED TO BE PREPARED
SHIPPING COMPANY ! BENE½T IS THAT ART FOR SUBMISSION TO THE PRODUCING GALLERY
DOES NOT NECESSARILY HAVE TO BE CRATED FOR 4HIS SHOULD INCLUDE A MORE DEVELOPED
SHIPMENT IF A ½NE ART TRANSPORT COMPANY CONCEPT AND A LIST OF ARTWORKS INCLUDING TITLE
IS USED SOFT
WRAPPING MAY BE POSSIBLE DATE MEDIA AND ANY SPECI½C REQUIREMENTS
6ALUABLE WORKS SOMETIMES REQUIRE COURIER FOR THE WORK AS WELL AS LENDER INFORMATION
TRANSPORT WHEREIN THE LENDING INSTITUTION 4HE REVISED DESCRIPTION WILL FORM THE BASIS
SENDS A STAFF MEMBER TO ACCOMPANY THE OF FUTURE REQUIRED TEXTS
ART IN TRANSIT AND OVERSEE ITS UNPACKING
! ½NAL TITLE WILL NEED TO BE SELECTED FOR THE
AND INSTALLATION 4HIS WILL INVOLVE AIRFARE
PROJECT -OST TITLES ARE SHORT YET EVOCATIVE
SOMETIMES BUSINESS CLASS OR OTHER TRAVEL
AND SOMEWHAT INFORMATIVE WITH RESPECT
COSTS HOTEL AND PER DIEM AND POSSIBLY A
TO THE CONTENT OF THE EXHIBITION ! USEFUL
DAILY FEE FOR THE COURIER ALL OF WHICH ARE COSTS
SOLUTION IS TO HAVE A SHORT MAIN TITLE WITH
BORN BY THE PRODUCING GALLERY AND MUST BE
A SUBTITLE THAT IS MORE DESCRIPTIVE AND
INCLUDED IN THE PROJECT BUDGET
CONCISE &OR EXAMPLE
,UMINOUS 3ITES 6IDEO )NSTALLATIONS
(ANDLING AND ADMINISTRATION
#URATORS $AINA !UGAITIS+AREN (ENRY
! FEE MAY BE CHARGED FOR EACH WORK IN A
)T 0AYS TO 0LAY "RITISH #OLUMBIA IN 0OSTCARDS
LOAN REQUEST OR FOR ONE OVERALL LOAN REQUEST
S
S
FROM A LENDER &EES MAY ALSO BE CHARGED FOR
#URATOR 0ETER 7HITE
REPRODUCING IMAGES OF THE LOANED ARTWORKS
&IRST 3ON 0ORTRAITS BY # $ (OY
#URATOR &AITH -OOSANG
'HOST IN THE 3HELL 0HOTOGRAPHY
AND THE (UMAN 3OUL
#URATOR 2OBERT ! 3OBIESZEK
$EVICES OF 7ONDER &ROM THE 7ORLD
IN A "OX TO )MAGES ON A 3CREEN
#URATORS "ARBARA -ARIA 3TAFFORD
AND &RANCES 4ERPAK
0!'%
,EGACIES .OW #URATORIAL 4OOLKIT
! MASTER LIST FOR THE PROJECT
)T IS HELPFUL TO HAVE A COMPUTER OR PAPER #OLUMNS CAN BE ADDED FOR ENTRIES INDICATING
DOCUMENT THAT RECORDS THE PROGRESS OF A COMPLETION OF CERTAIN TASKS FOR EXAMPLE
PROJECT´S ORGANIZATION !S DECISIONS ABOUT
✔ ARTIST´S APPROVAL
PARTICIPATION AND LOANS AND MANY OTHER TYPES
✔ LOAN APPROVAL
OF INFORMATION ARRIVE THESE DETAILS SHOULD BE
✔ ART PREPARED FOR SHOW FRAMING ETC
ADDED TO THE MASTER LIST APPROPRIATELY 4HIS
✔ VISUALS RECEIVED
WILL RESULT IN A SINGLE DOCUMENT THAT PROVIDES
✔ BIO#6 RECEIVED
AN OVERVIEW AND INDICATES WHERE YOU ARE WITH
✔ FEES PAID ETC
RESPECT TO DEADLINES MISSING INFORMATION AND
TASKS TO COMPLETE 4HE MASTER LIST MIGHT BE
FORMATTED AS A CHART A DATABASE OR A WORD
#,)#+ (%2% &/2 ! $/7.,/!$!",% 0$& &/2 !
PROCESSING DOCUMENT THAT IS CONTINUOUSLY 3!-0,% -!34%2 ,)34 #(!24 !.$ -!34%2 ,)34
UPDATED 4%84 6%23)/. /2 3%% 0!'%3
3UGGESTED INFORMATION TO INCLUDE
IN YOUR MASTER LIST 4HE CURATOR SHOULD ALSO BEGIN A LIST OF
4HE LAST NAME OF THE ARTIST IN PEOPLE TO WHOM ACKNOWLEDGMENTS WILL
ALPHABETICAL ORDER IF A GROUP SHOW BE GIVEN AT THE LAUNCH OF THE PROJECT AND
POSSIBLY IN A PUBLICATION !S THE PROJECT
,ABEL INFORMATION FOR ARTWORKS
DEVELOPS CONTINUE TO AUGMENT THIS LIST
INCLUDING TITLE DATE MEDIUM DIMENSIONS
WITH INFORMATION ON ALL PARTICIPANTS AND
COLLECTIONCOLLECTOR CREDIT LINE
THOSE WHO ASSISTED WITH RESEARCH AND
&RAMED DIMENSIONS AND NOTES REGARDING PRODUCTION ACTIVITIES
FRAMING REQUIREMENTS AND OTHER ART
!S WELL THE CURATOR´S MAILING LIST FOR
PREPARATION TASKS TO BE DONE
EXHIBITION INVITATIONS SHOULD BE ASSEMBLED
%QUIPMENT AND OTHER TECHNICAL OR TO BE PROVIDED TO THE GALLERY WELL IN ADVANCE
INSTALLATION REQUIREMENTS OF THE EXHIBITION OPENING #HECK WITH THE
GALLERY TO CON½RM HOW MANY ADDRESSES THEY
)NSURANCE VALUE
CAN ACCOMMODATE
!RTIST´S CONTACT INFO AND INSTRUCTIONS
SOME ARTISTS PREFER THAT THEIR ASSISTANT
OR DEALER BE THE CONTACT ONCE THEY HAVE
AGREED TO THE PROJECT
,ENDER´S CONTACT INFO IF DIFFERENT
3HIPPING DETAILS EG PICK
UP LOCATION
CONTACT INFO CRATING REQUIRED ETC
0!'%
MASTER LIST for [Title of exhibition/producing gallery name/dates for exhibition/current date of document (update each time new entries)]
Artist name # bio Framing/ loan credit
Insurance visuals info shipping
Lender list of works per works other request shipped info Comments
value rec’d arrangements
artist in loan prep approved rec’d
Name of lender of
artwork (artist, collector, # of Special fee requirements;
institution, dealer), visuals, Type special handling or installation
phone number and email # $ type, of requirements.
address; if institution, date info
rec’d
list contact person Communications of note.
0!'%
Master Planning List
As of [date – be sure to update with each revision]
[Title of Exhibition]
[Name of Gallery]
[Dates for exhibition]
Organized according to artists in the exhibition in alphabetical order
Note: For dimensions, height precedes width precedes depth
For each artist, record:
ARTIST NAME, [Place of residence]
For each artwork, all of the following should be noted:
• Title and date
• Medium (if video/film, etc., include b/w or colour, length - # of minutes, and whether there is
sound)
• Dimensions (stipulate image size if work is framed, or frame size if it is the only dimension
available)
• Credit line:
[e.g.: “Courtesy the artist,” or “Courtesy the artist and [name of dealer or collector or loan
institution, etc.]
• Insurance value: $
[It is assumed that this figure is current market value unless otherwise noted. Sometimes
replacement value is used but must be clearly stated as such – in the case of
photographs, for example. If the value is many years old, include the date of value; it may
need to be updated].
Loan approved: [record date; approved by whom]
CONTACT INFORMATION (may be different for each work by an artist, or all the same):
Artist:
For artist, include street address, email address, telephone/fax
If artist is deceased, include contact info for artist’s spouse or representative of the estate
Lender:
As above, or Lender’s name (if different), include all contact info
[When appropriate]
Artist’s dealer, all contact information
(Even when not the lender; often information for the artist is gathered via the dealer).
Be sure to clarify where the loan form is to be sent. Sometimes the work is owned by, and
permission must be secured from, an individual who is different from the person who currently
holds the artwork and will provide it for the exhibition.
0!'%
2
ARTIST’S FEE:
Note any special agreement regarding the artist’s exhibition fee and/or reproduction fees,
including any payment requirements such as bank transfers to a foreign account (will need to
supply banking information for such transactions). If the art work selected is media art, the lender
may be the artist’s distributor, in which case the artist fee may be determined by, and is to be paid
directly to, the distributor.
REQUIREMENTS FOR THE ART:
Shipping:
Pick up/return address and contact information
Via what mode of transport?
Be sure to note:
• Framed or requiring framing or other presentation mount?
• Special installation or handling requirements; special needs regarding equipment (If possible
be very specific about level of equipment required – some artists ask for very high-end
projectors, DVD decks, sound equipment, and/or complex room construction) .
• Note any anticipated costs related to the above (e.g. for video work, Gallery may be expected
to cover cost of producing new DVD copies or transferring from videotape to DVD, sometimes
in multiple formats, if the exhibition will be on for a long time or will travel).
• Whether artist or representative must be present for installation.
• Space required, if not obvious from dimensions.
0!'%
,EGACIES .OW #URATORIAL 4OOLKIT
&ASTWURMS $/.+9 .).*! 7)4#(
#ONTEMPORARY !RT 'ALLERY
6ANCOUVER
0!'%
"UDGETING
"UDGETING
0!'%
,EGACIES .OW #URATORIAL 4OOLKIT
$EVELOPING A PRELIMINARY
PROJECT BUDGET
)N SOME SITUATIONS THE CURATOR IS NOT REQUIRED TO
DEVELOP A PROJECT BUDGET AT ALL AND WILL NEVER SEE
THE PRODUCING GALLERY´S BUDGET
!T OTHER TIMES A PRELIMINARY BUDGET MAY HAVE SERIOUS REPERCUSSIONS INCLUDING
IS REQUIRED AND WHEN A CURATOR IS FULLY POSTPONEMENT OR CANCELLATION )F SOME
RESPONSIBLE FOR PROJECT PRODUCTION THIS COSTS CANNOT BE DETERMINED AT THIS EARLY
IS ESSENTIAL 2EGARDLESS OF THE CURATOR´S STAGE THIS IS NORMAL IT IS HELPFUL TO AT
DUTY IN THIS REGARD KNOWLEDGE OF THE LEAST LIST THE TYPES OF COSTS THAT MIGHT
BUDGETARY PROCESS IS IMPORTANT FOR A FULL ARISE WITH A QUESTION MARK ¯ FOR EXAMPLE
UNDERSTANDING OF CURATORIAL WORK 4HE WALL CONSTRUCTION SHELVES OR PLINTHS MEDIA
BUDGET SHOULD INCLUDE ALL KNOWN EXPENSES EQUIPMENT ¯ TO INDICATE TO THE GALLERY
AND A CONTINGENCY DOLLAR ½GURE TO COVER WHAT TYPES OF COSTS SHOULD BE ANTICIPATED
UNEXPECTED EXPENSES IN ANY AREA )T 4RY NOT TO OVERESTIMATE OR UNDERESTIMATE
SHOULD INCLUDE THE NUMBER OF ARTISTS AND SUBSTANTIALLY ¯ THAT IS WHY THE BUDGET
AMOUNTS FOR FEES AS CON½RMED BY THE INCLUDES A CONTINGENCY DOLLAR ½GURE !ND IF
PRODUCING GALLERY REQUIREMENTS FOR FRAMING YOU CANNOT LOCATE THE REQUIRED INFORMATION
EQUIPMENTWALL CONSTRUCTION ETC CONSULT WITH THE PRODUCING GALLERY TO BENE½T
FROM THEIR EXPERIENCE
4HE EXTENT OF BUDGET DETAIL REQUIRED WILL
DEPEND PARTLY ON THE STAGE THE CURATOR IS 3OMETIMES THE CURATOR WILL PROVIDE A LIST
AT WITH PROJECT DEVELOPMENT AND THIS WILL OF POTENTIAL SOURCES OF REVENUE 4HIS IS NOT
IN¾UENCE THE DEGREE OF SPECULATION PRESENT ALWAYS ESSENTIAL HOWEVER IT CAN CONTRIBUTE
IN THE BUDGET )F THE EXHIBITION WORKS HAVE POSITIVELY TO THE SITUATION IF YOU HAVE SOME
BEEN SELECTED THE BUDGET WILL BE MORE USEFUL IDEAS )N MOST CASES COVERING THE COST
ACCURATE BUT EVEN PRIOR TO THIS A REASONABLE OF A PROJECT IS ENTIRELY THE RESPONSIBILITY OF
BALL
PARK BUDGET CAN BE DETERMINED BASED ON THE PRODUCING GALLERY ALTHOUGH YOU MAY BE
INFORMED SPECULATION ASKED TO PARTICIPATE IN DEVELOPING MATERIAL
FOR GRANT APPLICATIONS
4HE EXHIBITION BUDGET SHOULD BE AS
DETAILED AS POSSIBLE FOR THE BENE½T OF BOTH ;3EE SECTION
&UNDRAISING $EVELOPMENT=
THE CURATOR AND THE GALLERY 4HIS WILL AID
'ALLERIES GENERALLY USE A PROJECT BUDGET
IN SECURING APPROPRIATE REVENUES FOR THE
THAT IS BASED ON A ZERO BOTTOM LINE 4HAT IS
PROJECT )T IS ALSO A VERY GOOD EXERCISE FOR
REVENUES EQUAL EXPENSES )N SOME CASES THIS
THE CURATOR AS IT HELPS TO ARTICULATE THE
WILL INCLUDE IN
KIND EXPENSES AND REVENUES
PROJECT IN CONCRETE WAYS !NTICIPATION OF
IF THESE ARE TO BE ENTERED AT ALL THEY MUST
ALL COSTS EARLY ON WILL REDUCE THE RISK OF
APPEAR ON BOTH SIDES OF THE BUDGET )T IS THE
UNPLEASANT ½NANCIAL SURPRISES LATER WHICH
GALLERY´S RESPONSIBILITY TO TAKE YOUR PROVIDED
0!'%
"UDGETING
PROJECT BUDGET AUGMENT THE EXPENSES AS 3OME GALLERIES ESPECIALLY THE LARGER
APPROPRIATE AND ½LL IN THE REVENUES SIDE INSTITUTIONS DO NOT INCLUDE REVENUES IN
ACCORDING TO THEIR USUAL PROCESS 4HEY PROJECT BUDGETS BUT RECORD THESE SEPARATELY
MAY WISH TO INCLUDE IN THE EXPENSE LIST FOR
"E SURE TO DATE EACH BUDGET DOCUMENT
INSTANCE SUCH IN HOUSE COSTS AS DIDACTICS
INCLUDING EACH REVISION AS THIS WILL SAVE
BROCHURE WALL PAINT AND PREPARATION
CONFUSION AS YOU GET DEEPER INTO THE PROJECT
MATERIALS IN HOUSE ANDOR CASUAL
INSTALLATION OR GALLERY MONITORING LABOUR
ADVERTISING AND PUBLIC RELATIONS EXPENSES #,)#+ (%2% &/2 ! $/7.,/!$!",% 0$& &/2 !
3!-0,% %8()")4)/. "5$'%4 /2 3%% 0!'%
EDUCATION PROGRAM EXPENSES ETC
"UDGET COMPONENTS
! DISCUSSION OF SOME OF THE KEY COMPONENTS 4HE BUDGET TEMPLATE SEE ABOVE DOES
OF AN EXHIBITION BUDGET FOLLOWS NOT INCLUDE COSTS FOR EXHIBITION CIRCULATION
PUBLICATIONS MEDIA RELATIONS OR EDUCATIONAL
.OTE 2EFER TO THE BUDGET TEMPLATE
PROGRAMS APART FROM PUBLIC EVENTS DIRECTLY
SEE 3ECTION ABOVE AND OTHER TOOLKIT
RELATED TO EXHIBITIONS SUCH AS ARTIST´S TALKS
SECTIONS FOR ELABORATION ON ADDITIONAL COSTS
SUCH AS MARKETING AND PROMOTIONS
;3EE SECTION
-EDIA 2ELATIONS=
;3EE SECTION
%XHIBITION #IRCULATION=
&EES
!RTISTS´ FEES
)N #ANADA IT IS CONSIDERED MANDATORY %ACH GALLERY DETERMINES THEIR OWN POLICY
PRACTICE FOR PUBLIC GALLERIES AND ARTIST
ABOUT FEES -OST FUNDING AGENCIES STATE
RUN CENTRES TO PAY FEES TO ARTISTS IN THAT IN ORDER TO QUALIFY FOR ½NANCIAL SUPPORT
EXCHANGE FOR THE PUBLIC PRESENTATION OF GALLERIES MUST PAY PROFESSIONAL ARTISTS´ FEES
THEIR ARTWORK 3INCE A STANDARD FEE 4HE CURATOR SHOULD USE THE #!2&!# ARTIST
SCHEDULE HAS BEEN PROVIDED BY THE NON
FEE SCHEDULE WHEN CONSTRUCTING A BUDGET
PRO½T CORPORATION #!2&!# #ANADIAN (OWEVER GALLERIES MAY ADJUST THESE ½GURES
!RTISTS 2EPRESENTATIONLE &RONT DES ARTISTES ACCORDING TO THEIR OWN FEE POLICY
CANADIENNES 'ALLERIES USE THIS SCHEDULE
)NSTITUTIONS ARE OFTEN NOT OBLIGED TO PAY
UPDATED ON A YEARLY BASIS AS A GUIDELINE )T
ARTISTS´ FEES FOR THE PRESENTATION OF ARTWORK
IS GENERALLY ACCEPTED THAT FEES SHOULD BE
FROM THEIR COLLECTION AND THIS CAN EXTEND
AT MINIMUM THE RECOMMENDED #!2&!#
TO LOANS OF THESE WORKS (OWEVER IT IS
AMOUNT 3OME GALLERIES ARE ABLE TO PAY
APPROPRIATE TO CONSIDER PAYING FEES TO THE
HIGHER AMOUNTS WWWCARFACCA 3EE
ARTISTS REGARDLESS AND MANY CURATORS AND
±-EMBERSHIP 3ERVICES² FOR FEE SCHEDULES
GALLERIES HAVE A POLICY OF DOING SO
0!'%
,EGACIES .OW #URATORIAL 4OOLKIT
*EFF ,ADOUCEOUR &LOATER
6ANCOUVER !RT 'ALLERY 0HOTO
5NA +NOX 6ANCOUVER !RT 'ALLERY
0!'%
"UDGETING
%STABLISHED ARTISTS WHO ARE WELL KNOWN !LTERNATIVELY A GALLERY MIGHT ASSUME THE MAIN
INTERNATIONALLY MAY REQUEST A FEE THAT IS RESEARCH FOR A PROJECT HAS BEEN COMPLETED
MUCH HIGHER THAN THE #!2&!# RECOMMENDED PRIOR TO CON½RMING THEIR PARTICIPATION AND
FEE 4HEY MAY OR MAY NOT BE WILLING TO THEY WILL NOT EXPECT TO PROVIDE A RESEARCH FEE
NEGOTIATE A REDUCED FEE FOR THIS PROJECT OR COVER OTHER RESEARCH RELATED COSTS
(OWEVER IN MANY CASES IF ASKED TO ACCEPT
4HEIR COMMITMENT IN THIS CASE WILL BE TO FUND
THE SAME FEE BEING PAID TO OTHERS THE
THE PRODUCTION OF AN ALREADY WELL CONCEIVED
ARTIST WILL AGREE
PROJECT WITH THE CURATORIAL FEE RELATING TO THE
!N ARTIST FROM ANOTHER COUNTRY MAY NOT WORK REQUIRED TO ASSEMBLE ART AND ORGANIZE IT
EXPECT AN ARTIST´S FEE BECAUSE IT IS NOT FOR PUBLIC PRESENTATION
COMMON PRACTICE OR NOT DONE AT ALL IN
&OR A SINGLE VENUE EXHIBITION THE CURATORIAL
THEIR COUNTRY OF RESIDENCE .ONETHELESS ALL
FEE CAN START AT AND CONTINUE
ARTISTS BEING EXHIBITED IN #ANADA SHOULD BE
UPWARDS TO PERHAPS OR
OFFERED THE APPROPRIATE FEE ACCORDING TO THE
)T SHOULD BE NOTED THAT THE HIGHER FEES ARE
GALLERY´S POLICY )T IS BEST TO BE CONSISTENT
LESS COMMON AND GENERALLY PROVIDED TO
)N THE CASE OF A DECEASED ARTIST THE FEE MAY WELL ESTABLISHED CURATORS 4HE FEE DEPENDS
GO TO THE ARTIST´S SPOUSE OR ESTATE AND ANY ENORMOUSLY ON THE EXPERIENCE AND PRO½LE OF
INFORMATION SUCH AS THE TERMS REQUESTED THE CURATOR THEIR ABILITY TO NEGOTIATE THEIR
BY THE ESTATE AND CONTACT INFORMATION FEE AND ON THE BUDGET AND POLICIES OF THE
WILL NEED TO BE SUPPLIED TO THE GALLERY 4HE PRODUCING GALLERY -OST IMPORTANTLY THE
GALLERY SHOULD UNDERTAKE ANY NEGOTIATIONS LARGER AND MORE COMPLEX THE PROJECT THE
WITH AN ARTIST´S ESTATE -OST GALLERIES HIGHER THE FEE SHOULD BE SINCE THE AMOUNT
HAVE A POLICY ABOUT WHETHER OR NOT THEY OF TIME REQUIRED BY THE CURATOR WILL INCREASE
WILL PAY ARTISTS´ FEES TO ESTATES #!2&!# ACCORDINGLY (OWEVER EVEN A SOLO EXHIBITION
RECOMMENDS DOING SO CAN BE QUITE LABOUR INTENSIVE ESPECIALLY IF
THERE ARE MANY LOANS REQUIRED FROM SEPARATE
SOURCES
#URATORIAL FEES
/FTEN THE CURATOR IS PAID A SEPARATE FEE
4HERE IS NO STANDARD FEE SCHEDULE FOR
FOR WRITING A CATALOGUE ESSAY OR FOR THEIR
CURATORS ALTHOUGH MEETINGS HAVE BEEN HELD
WORK IN COMPILINGEDITINGMANAGING THAT
OVER THE YEARS TO DISCUSS THIS ISSUE AND
PUBLICATION 4HE CURATOR SHOULD NOT ASSUME
ATTEMPT TO DE½NE STANDARD PRACTICES
A SEPARATE FEE WILL BE PAID HOWEVER AS SOME
;3EE SECTION !DVOCACY FOR "EST GALLERIES EXPECT THIS WORK WILL BE INCLUDED
0RACTICES WHICH INCLUDES HISTORIC DOCUMENTS IN THE MAIN CONTRACT FOR THE PROJECT
FROM = #LARITY AROUND THE ISSUE OF FEES AND RELATED
REQUIREMENTS IS ESSENTIAL
/NE SOURCE OF INFORMATION IS THE .ATIONAL
#OMPENSATION 3URVEY AVAILABLE FROM &OR AN EXHIBITION THAT WILL TOUR THERE ARE
THE #ANADIAN -USEUMS !SSOCIATION THROUGH TWO OPTIONS FOR FEES THAT ARE SEPARATE
THEIR WEBSITE WWWMUSEUMSCA FROM THE INAUGURAL CURATORIAL FEE A SINGLE
CURATORIAL FEE THAT COVERS THE WORK RELATED
'ALLERIES MAY STRONGLY SUPPORT CURATORIAL
TO THE WHOLE TOUR FOR A MAXIMUM NUMBER
RESEARCH AND OFFER FEES FOR INITIAL PROJECT
OF VENUES AND WITH THE UNDERSTANDING
DEVELOPMENT 3UCH A FEE MIGHT BE
THAT A FEE FOR SUBSEQUENT VENUES WILL BE
TO OR MORE DEPENDING ON THE
NEGOTIATED OR A CURATORIAL FEE PER VENUE
SCOPE OF THE PROJECT
0!'%
,EGACIES .OW #URATORIAL 4OOLKIT
! PER VENUE FEE FOR A SMALL TO MEDIUM )NSTALLATION FEES
EXHIBITION MIGHT RANGE FROM TO
#URATORS AND ARTISTS ARE GENERALLY PAID
A LARGER SURVEY OR GROUP EXHIBITION
AN INSTALLATION FEE FOR THEIR ON SITE WORK
MIGHT BRING A PER VENUE FEE OF UP TO
INSTALLING THE EXHIBITION 3EE #!2&!# FEE
DEPENDING ON THE CURATOR´S RESPONSIBILITIES
RATES FOR ARTISTS THESE CAN BE USED FOR THE
FOR VENUE PRESENTATIONS .OTE THAT THESE
CURATOR AS WELL 'ALLERIES DO NOT NECESSARILY
AMOUNTS RE¾ECT SELECTED DOCUMENTED
APPLY THIS RATE BUT WILL INDICATE THEIR POLICY
FEES FROM 4HE CURATOR IS
REGARDING INSTALLATION FEES AS WELL AS THE
GENERALLY INVOLVED IN PROGRAM DEVELOPMENT
NUMBER OF DAYS THEY ARE PREPARED TO COVER
AND EXHIBITION INSTALLATION CONCEPT
.OTE THAT SOME GALLERIES DO NOT NORMALLY
IMPLEMENTATION AT EACH VENUE
PAY INSTALLATION FEES BUT MAY BE WILLING TO
NEGOTIATE THIS POINT
0UBLIC PROGRAMMING FEES
4ECHNICIANS OR GALLERY PREPARATORS THAT ARE
4HERE ARE STANDARD FEE RATES FOR LECTURES REQUIRED TO INSTALL THE EXHIBITION WILL USUALLY
ARTIST´S TALKS SYMPOSIA OR PANEL DISCUSSIONS BE GALLERY STAFF AND SHOULD NOT NEED TO BE
AND OTHER PUBLIC PROGRAMS ;3EE #!2&!# INCLUDED IN THE BUDGET PREPARED BY THE
WEBSITE -EMBERSHIP 3ERVICES&EE CURATOR 4HE GALLERY MAY CHOOSE TO ADD
3CHEDULES= !MOUNTS CAN VARY A LOT FROM ONE CASUAL LABOUR BROUGHT IN SPECI½CALLY FOR
GALLERY TO ANOTHER AS EACH GALLERY WILL HAVE INSTALLATIONS )F SPECIAL TECHNICAL EXPERTISE
ITS OWN POLICY REGARDING PUBLIC PROGRAMMING IS REQUIRED THAT IS UNLIKELY TO BE AVAILABLE
FEES 4HE CURATOR IS USUALLY PAID SEPARATE IN HOUSE THESE ADDITIONAL FEES SHOULD BE
FEES FOR ANY PUBLIC TALK OR THE ORGANIZATION ANTICIPATED IN THE PROJECT BUDGET
OF A SYMPOSIUM OR OTHER ACTIVITY UNLESS
2EPRODUCTION FEES
THESE ACTIVITIES ARE RELATED TO THEIR OVERALL
CURATORIAL FEE $O NOT MAKE ASSUMPTIONS 4HE GALLERY WILL ALSO NEED TO CONSIDER
ABOUT SUCH FEES POTENTIAL COSTS FOR THE REPRODUCTION OF
ARTISTS´ WORKS IN ADVERTISING CATALOGUES
#AUTION $O NOT ASSUME THAT PARTICIPANTS
POSTERS CARDS AND OTHER MATERIALS #!2##
IN THE PROJECT ARTISTS SPEAKERS OTHERS
THE #ANADIAN !RTISTS 2EPRESENTATION
WILL ACCEPT THE FEE THAT THE GALLERY EXPECTS
#OPYRIGHT #OLLECTIVE )NC WAS ESTABLISHED
TO PAY !S WITH THE CURATOR´S FEES THE
IN TO LICENSE AND ADMINISTER COPYRIGHT
½NANCIAL TERMS FOR SERVICES FROM ARTISTS
FOR VISUAL AND MEDIA ARTISTS IN #ANADA &OR
AND OTHER PARTICIPANTS SHOULD BE CLARI½ED
ARTISTS WHO ARE REGISTERED WITH #!2##
AT THE POINT OF HIRE TO ENSURE THERE ARE NO
ANY USE OF THEIR ARTWORKS IN REPRODUCTION
MISUNDERSTANDINGS 3OMETIMES A CERTAIN
IN CATALOGUES BOOKS POSTERS CARDS
AMOUNT OF NEGOTIATION IS REQUIRED AND
NEWSLETTERS ETC WILL REQUIRE THE PAYMENT OF
THE GALLERY MAY ASK THE CURATOR TO DO THIS
FEES #!2## WILL INVOICE THE GALLERY DIRECTLY
ON THEIR BEHALF 5SUALLY IT IS BEST THAT THE
ON BEHALF OF THE ARTIST AND RETAIN A SMALL
GALLERY UNDERTAKE THE TASK
ADMINISTRATIVE FEE WWWCARCCCA
-USEUM LOAN FEES
! GALLERY OR MUSEUM MAY CHARGE A FEE FOR
LENDING AN ARTWORK FOR YOUR PROJECT
0!'%
"UDGETING
4RAVEL COSTS
4HE GALLERY WILL SOMETIMES COVER TRAVEL 4HE PER DIEM SHOULD BE PAID FOR TRAVEL DAYS
COSTS RELATED TO PROJECT RESEARCH AND AS WELL AS WORK DAYS )T COVERS THE COST OF
OR THE EXHIBITION INSTALLATION AND EVENTS MEALS AND INCIDENTALS SOMETIMES THIS CAN
)T IS NORMAL FOR THE CURATOR TO BE PRESENT INCLUDE LOCAL ANDOR TRIP
RELATED TAXIS 4HE
TO INSTALL THE EXHIBITION AND OPEN THE PER DIEM MAY BE LOWER IF ACCOMMODATION
EXHIBITION BUT AGAIN THIS SHOULD BE MADE INCLUDES KITCHEN FACILITIES )F THE ARTIST
CLEAR EARLY ON 4HE BUDGET SHOULD ALSO CURATOR IS ASKED TO TRAVEL FOR EVENTS THAT HAVE
ANTICIPATE THE COST OF ANY ARTIST WHOSE A NUMBER OF NON
WORK DAYS IN BETWEEN THE
PRESENCE IS REQUIRED FOR THE INSTALLATION OF GALLERY IS OBLIGED TO PAY A PER DIEM AND
THEIR ART OR ANY PARTICIPANTS THAT WILL BE ACCOMMODATION FOR THOSE DAYS
INVITED TO PLAY A ROLE AT THE OPENING OR AT
5SUALLY THE GALLERY WILL COVER TAXIS FROM
A PUBLIC PROGRAMMING EVENT )N A PERFECT
TO AIRPORTS AND RELATED LOCAL TRANSPORT
WORLD ALL ARTISTS IN AN EXHIBITION WILL BE
SEPARATE FROM THE PER DIEM
PRESENT FOR AN OPENING
!CCOMMODATION 4HIS IS USUALLY IN A HOTEL
4RAVEL COSTS INCLUDE
BUT WILL OCCASIONALLY BE IN A COLLEAGUE´S
!IRFARE ECONOMY TRAINBUS OR CAR RESIDENCE BILLETING OR A GALLERY RESIDENCY
RENTAL OR MILEAGE FOR PERSONAL CAR SPACE 4HE GALLERY IS RESPONSIBLE FOR ANY
ROOM RENTAL CHARGES AND TAXES BUT USUALLY
0ER DIEM FOR THE CURATOR AND ARTISTS
NOT INCIDENTALS SUCH AS PHONE CALLS OR
ATTENDING THE INSTALLATIONOPENING OR PUBLIC
ROOM SERVICE &OOD IS COVERED BY
EVENTS 2ATES CAN VARY CURRENTLY BETWEEN
THE PER DIEM
AND PER DAY DEPENDING ON THE
GALLERY BUDGET ANDOR THE LOCAL COST OF LIVING
)NSTALLATION COSTS
4HE CURATOR WILL NEED TO ANTICIPATE IN DETAIL 4HE CURATOR MAY NEED TO SECURE QUOTATIONS
THE INSTALLATION REQUIREMENTS FOR THE PROJECT FOR SOME OF THESE COSTS )N SOME CASES
4HE ARTISTS SHOULD BE ABLE TO OUTLINE IN THE ARTISTS WILL DO THIS RESEARCH REGARDING
FULL WHAT IS REQUIRED FOR THEIR WORK )F THE FRAMING COSTS FOR INSTANCE AND THEY MAY
ARTIST IS NOT AVAILABLE OR WOULD BENE½T BE IN A POSITION TO UNDERTAKE THE BUILDING
FROM ADVICE ON AUDIO VISUAL EQUIPMENT OF A PLINTH OR THE FRAMING OR CRATING OF THE
FOR EXAMPLE AN EXPERIENCED INSTALLATION ART THEMSELVES USUALLY CHARGING THE GALLERY
TECHNICIAN CAN BE CONSULTED 4HE TECHNICAL FOR THIS WORK !LL SUCH COSTS WILL NEED TO BE
STAFF AT THE PRODUCING GALLERY WILL ADVISE ON APPROVED BY THE GALLERY IN ADVANCE
ISSUES REGARDING THE INSTALLATION AND ON THE
GALLERY´S EQUIPMENT AND OTHER INVENTORIES
0!'%
,EGACIES .OW #URATORIAL 4OOLKIT
)NSTALLATION COSTS CAN INCLUDE %QUIPMENT EG FOR VIDEO½LMSOUND AND
OTHER MEDIA INSTALLATIONS CAN RESULT IN A
&RAMING OR OTHER MOUNTING MECHANISMS
SUBSTANTIAL EXPENSE -ANY GALLERIES OWN
FOR TWO DIMENSIONAL ART
SOME AUDIOVISUAL EQUIPMENT PROJECTORS
4HE BUILDING OF SUPPORT MECHANISMS FOR SCREENS VIDEO$6$ OTHER PLAYBACK DECKS
THREE DIMENSIONAL ART EG SHELVING UNITS SPEAKERS AND OTHER SOUND EQUIPMENT
FREE STANDING PLINTHS VITRINES BUILT INTO (OWEVER TECHNOLOGIES ARE CHANGING RAPIDLY
THE WALL AND EQUIPMENT THAT WAS TOP OF THE LINE TWO
YEARS AGO MAY NO LONGER MEET THE ARTIST´S
4HE CONSTRUCTION OF WALLS OR OTHER
NEEDS 4HIS MAY NECESSITATE NEW PURCHASES
ARCHITECTURAL COMPONENTS
FOR THE EXHIBITION OR THE LOAN OR RENTAL OF
4HE INSTALLATION OF CURTAINS DOORS OR EQUIPMENT +EEP IN MIND THAT RENTAL OVER
OTHER LIGHT OR SOUND BLOCKING DEVICES A PERIOD OF NUMEROUS WEEKS CAN BE MORE
0AINT AND RELATED ITEMS EXPENSIVE THAN ACTUALLY PURCHASING THE
EQUIPMENT SO THE GALLERY IS WISE TO GET
%XCEPTIONAL LIGHTING ½XTURESBULBS COST QUOTATIONS FOR BOTH OPTIONS !S NEW
3PECIAL ELECTRICAL AUGMENTATIONS TO THE EQUIPMENT WILL BENE½T FUTURE PROJECTS OFTEN
EXISTING SYSTEM EG %UROPEAN VOLTAGE THE GALLERY WILL AGREE TO ALLOCATE ONLY A
PORTION OF THE PURCHASE COST TO THE PROJECT
3ECURITY DEVICES STANCHIONS INDIVIDUAL AT HAND
ALARMS SURVEILLANCE CAMERAS ETC AS
NEEDED 7HO COVERS COSTS
3PECIAL INSTALLATION HARDWARE OR FEATURES 4HE QUESTION MAY ARISE AS TO WHICH
REQUIRED FOR OUTDOOR ARTWORKS GUARDING COMPONENT OF AN ARTWORK SHOULD BE THE
AGAINST THEFT AND PROVIDING DURABILITY RESPONSIBILITY OF THE ARTIST AND WHICH SHOULD
AGAINST WEATHER AND VANDALISM BE THE RESPONSIBILITY OF THE GALLERY &OR
,ICENSES OR PERMITS AS REQUIRED FOR SOME ARTWORK EG ROBOTICS THE ARTIST MAY
OUTDOOR ART INSTALLATIONS OR TEMPORARY PROVIDE ALL EQUIPMENT &OR OTHERS SUCH AS
EVENTS PERFORMANCE ART ETC ACCORDING VIDEO OR ½LM PROJECTIONS OFTEN THE GALLERY
TO MUNICIPAL REGULATIONS MUST SUPPLY THE EQUIPMENT )T IS WISE TO
CLARIFY EXPECTATIONS WELL IN ADVANCE AS OFTEN
/THER SPECIAL REQUIREMENTS FOR THE THIS ARRANGEMENT IS VAGUE AND CAN CREATE
PRESENTATION OF THE ART PROBLEMS 'ENERALLY DECISIONS ARE MADE ON
!NY LABOUR FEES ASSOCIATED WITH A CASE BY CASE BASIS 4HIS RELATES AS WELL
THESE TASKS TO THE FRAMING OF TWO DIMENSIONAL ARTWORK
3OME GALLERIES ASK THE ARTIST TO PROVIDE WALL
WORK READY TO HANG WHILE OTHERS ANTICIPATE
FRAMING COSTS FOR A PROJECT
0!'%
"UDGETING
(OUSE OF /RACLES (UANG 9ONG 0ING
! 2ETROSPECTIVE INSTALLATION OF THE EXHIBITION
AT THE 6ANCOUVER !RT 'ALLERY
0HOTO 4OMAS 3VAB 6ANCOUVER !RT 'ALLERY
0!'%
,EGACIES .OW #URATORIAL 4OOLKIT
)NSTALLATION 3HANGHAI "IENNALE
0!'%
"UDGETING
#RATING AND SHIPPING
5SUALLY THE GALLERY WILL TAKE RESPONSIBILITY -OST GALLERIES HAVE CERTAIN COMPANIES THEY
FOR THE PLANNING AND IMPLEMENTATION OF ALL WORK WITH REGULARLY )F THE CURATOR NEEDS
CRATING AND SHIPPING TO LOCATE A SHIPPER SHEHE SHOULD SEEK
RECOMMENDATIONS FROM COLLEAGUES
#RATING
)NSURANCE
)F A CRATING QUOTATION IS REQUIRED THE
CURATOR WILL NEED TO SUPPLY THE FOLLOWING -OST COMMONLY ARRANGEMENTS WILL NEED TO
INFORMATION THE ARTIST´S NAME THE TITLE OF BE MADE FOR CONTINUOUS INSURANCE COVERAGE
ARTWORK THE MEDIUM AND EXACT DIMENSIONS WHILE THE ART IS IN TRANSIT 4HE GALLERY´S
OF THE WORK INFORMATION ON WHICH WORKS ARE INSURANCE POLICY WILL COVER THE INSURANCE
TO GO TOGETHER IN A CRATE OR WHICH WORKS WHILE THE WORK IS ON THE PREMISES AND OFTEN
MUST BE PACKED INDIVIDUALLY AND THE DUE THIS POLICY CAN COVER WORK WHILE IN TRANSIT AS
DATE /FTEN THOSE WHO PROVIDE ½NE ART WELL (OWEVER IF IN
TRANSIT INSURANCE IS NOT
SHIPPING CAN ALSO DO FRAMING AND CRATING AVAILABLE AUTOMATICALLY OR IF THE ARTWORK HAS
DEAL WITH CUSTOMS BROKERS AND ARRANGE AN ESPECIALLY HIGH VALUE ADDITIONAL COVERAGE
INTERNATIONAL SHIPPING /THERS WHO HAVE MAY BE REQUIRED 3HIPPING COMPANIES CAN
½NE CARPENTRY SKILLS CAN ALSO OFFER CRATING SOMETIMES PROVIDE INSURANCE &OR ESPECIALLY
SERVICES EG TECHNICIANS CARPENTERS HIGH
VALUE EXHIBITIONS USUALLY OF HISTORICAL
FRAMING BUSINESSES WORK GALLERIES CAN APPLY FOR FEDERAL
GOVERNMENT INDEMNITY COVERAGE THROUGH A
#ANADIAN (ERITAGE PROGRAM
3HIPPING
4O SECURE QUOTATIONS FOR SHIPPING SIMILAR
#USTOMS BROKERAGE
INFORMATION MUST BE PROVIDED TO THE
SHIPPING COMPANY WHETHER IT SPECIALIZES 'ALLERIES THAT HAVE A HISTORY OF TRANSPORTING
IN ½NE ART TRANSPORT OR REGULAR SHIPPING ART ACROSS INTERNATIONAL BORDERS WILL LIKELY
4HE COMPANY WILL NEED THE ARTIST´S NAME HAVE A REGULAR CUSTOMS BROKER AND MAY HAVE
THE MEDIUM AND DIMENSIONS OF THE ART AS A SPECIAL ARRANGEMENT REGARDING FEES
PACKAGED WHETHER CRATED BUBBLE
WRAPPED
2EQUESTS FOR SERVICE QUOTATIONS SHOULD BE
ETC THE VALUE OF THE WORK THE DESTINATION
MADE IN WRITTEN FORM EMAIL IS ½NE AND
AND REQUIRED DELIVERY DATE
ONE SHOULD ASK TO RECEIVE THE QUOTATION IN
WRITTEN FORM 4HE COMPANY OR INDIVIDUAL
MAY PROVIDE AN ESTIMATE ONLY IF THE QUOTE IS
BEING REQUESTED MANY MONTHS OR YEARS PRIOR
TO THE ACTUAL CRATING OR SHIPMENT DATE
0!'%
,EGACIES .OW #URATORIAL 4OOLKIT
6ISUAL DOCUMENTATION
)DEALLY EVERY PROJECT INSTALLATION SHOULD BE WITH THE NECESSARY HIGH
END PHOTOGRAPHY
DOCUMENTED VISUALLY IN STILL PHOTOGRAPHY TOOLS &EES FOR A SINGLE CAREFULLY
PLANNED
ANDOR VIDEO FORM EITHER DIGITALLY OR IN PHOTOGRAPH RANGE FROM TO
ANALOGUE FORMAT 3TRIVE FOR HIGH QUALITY OR MORE DEPENDING ON THE COMPLEXITY OF
IMAGES THAT WILL BE INFORMATIVE AND ATTRACTIVE THE OBJECT THE SITUATION THE COST OF PHOTO
IN REPRODUCTION 6IDEO DOCUMENTATION IS MATERIALS AND WHETHER TRAVEL OUTSIDE THE
VERY USEFUL IF THE ART ITSELF IS MEDIA
BASED PHOTOGRAPHER´S STUDIO IS REQUIRED )F YOU ARE
INTERACTIVE OR INVOLVES MOVEMENT SENDING WORK TO THE PHOTOGRAPHER´S STUDIO
TO BE DOCUMENTED YOU WILL NEED TO EXPECT
)NSTALLATIONS AND LARGE WORKS MUST BE
TRANSPORTATION COSTS !RRANGEMENTS FOR
DOCUMENTED ON SITE IN THE GALLERY
SPECIAL INSURANCE COVERAGE MAY BE REQUIRED
SOMETIMES THE WORK WILL ONLY EXIST IN THIS
ASK THE PHOTOGRAPHER ABOUT THEIR IN
STUDIO
CONTEXT /NCE THE EXHIBITION IS TAKEN DOWN
INSURANCE COVERAGE
THERE LIKELY WILL NOT BE ANOTHER OPPORTUNITY
FOR PHOTOGRAPHY UNLESS YOU REQUIRE ONLY +EEP IN MIND THAT THE REPRODUCTION OF AN
VISUALS OF THE WORK ITSELF AND NOT THE CONTEXT ARTIST´S WORK REQUIRES THE ARTIST´S PERMISSION
IN WHICH IT WAS PRESENTED )N THIS CASE 5SUALLY THEY WILL AGREE WITH NO CHARGE
SMALLER WORKS CAN BE PHOTOGRAPHED IN A (OWEVER SOME MIGHT ARGUE THAT THE INCLUSION
PHOTOGRAPHER´S OR ARTIST´S STUDIO OF INSTALLATION PHOTOGRAPHY IN ANY PRINTED
ITEM REQUIRES THE PAYMENT OF A REPRODUCTION
%VEN IF THERE ARE NO PLANS TO PUBLISH AT THE
FEE "E AWARE THE ISSUE MIGHT BE RAISED .OTE
TIME OF PRODUCING THE PROJECT GOOD VISUALS
ALSO THAT THE COPYRIGHT FOR A PHOTOGRAPH CAN
MAY BE REQUIRED FOR MEDIA REVIEWS OR FOR
RESIDE WITH THE PHOTOGRAPHER AS WELL AS OR
AN UNEXPECTED FUTURE PUBLICATION NEW
INSTEAD OF THE ARTIST
MONEY DOES EMERGE SOMETIMES 4HE ARTISTS
WILL VALUE HAVING THIS DOCUMENTATION FOR ;3EE SECTION "UDGET
FUTURE USE AND MAY CHOOSE TO PAY FOR THE 2EPRODUCTION &EES=
PHOTOGRAPHY THEMSELVES 'ALLERIES TOO WILL
BENE½T FROM GOOD DOCUMENTATION FOR THEIR
ARCHIVES AND FUTURE USE AND SHOULD AGREE
THAT THIS TASK IS THEIR RESPONSIBILITY
! PROFESSIONAL PHOTOGRAPHER OF ½NE ART
IS A PARTICULAR BREED OF EXPERT SKILLED
IN THE MATTER OF LIGHTING MATERIALS AND
PERSPECTIVE AND GENERALLY FULLY EQUIPPED
0!'%
Exhibition Budget
[Title of Exhibition]
[Name of Gallery] [Dates for exhibition]
[Date budget prepared; followed by dates for any revisions]
FEES
Artist fees [# artists x standard fee]
Artist fees – special projects
(may include site specific installation or commissioning of a new work)
Screening fees, for video/film works
(standard fees charged by artist’s distributor, or directly by artist)
Artist installation fees (daily fee x # days x # artists)
Artist talk fees
Curatorial fees:
research fee (if applicable)
exhibition fee
installation fee
lecture fee (and/or moderator fee, etc., for public events)
Public program participant fees (for lectures, panel discussions, etc.)
Loan fees – rental or administrative fee charged by institutional lender of artwork(s)
Special permission or license fees (for public art, other)
Copyright fees (for use of historic photos, other)
Audio-visual technician for installation (additional to in-house staff)
Non-gallery staff/installation technician fees
SUBTOTAL FEES [TOTAL $]
TRAVEL
(Each item includes airfare/other transport, accommodation, per diem, miscellaneous costs)
Advance site visit for artist (e.g. for special project or complex installation planning)
Artist travel costs for exhibition installation and programs, opening events
Scholar (or other public program participant) travel
Courier for museum/collector loan from (city name) – may include courier wage [$/day]
Curatorial travel:
Research
Installation and opening
Public programs
SUBTOTAL TRAVEL [TOTAL $]
0!'%
INSTALLATION
Framing
Crating or packing
Shipping
(Note the location of loan works and shipping estimates
for each shipment)
Customs brokerage
Special costs
(i.e. production of photographic prints from archival negatives)
Installation expenses
(i.e. paint, shelf/plinth/wall construction, etc.)
Equipment rental or purchase
Didactics (labels, wall texts, often prepared in-house)
Photographic and/or video documentation
(of installation and individual works as required)
SUBTOTAL INSTALLATION COSTS [TOTAL $]
PROMOTION
Printed promotional items:
(costs include design/image, scanning/printing for invitation,
brochure, poster, and/or newsletter)
Distribution: postage for mail-out, postering
Advertising: design of ads, plus costs for ad placements
Artist’s reproduction fees (CARCC)
SUBTOTAL PROMOTION [TOTAL $]
ADMINISTRATION EXPENSES
Curator’s administration costs:
(long distance telephone/fax, postage, courier,
copying, slide duplication, CD or DVD production
and other required materials)
Insurance top-up
(if insurance value of show is exceptional)
Security costs
(not typical but can include surveillance camera, security staff)
SUBTOTAL ADMINISTRATION EXPENSES [TOTAL $]
Contingency [10% of budget is standard]
TOTAL EXHIBITION EXPENSES [$ TOTAL]
NOTE: This budget does not include any writing fees, publication or website development costs, or costs related to
education programs for students.
0!'%
&UNDRAISING DEVELOPMENT
&UNDRAISING
DEVELOPMENT
0!'%
,EGACIES .OW #URATORIAL 4OOLKIT
)N GENERAL THE PRODUCING GALLERY DETERMINES WHERE
TO SECURE THE FUNDS FOR A PROJECT 3OMETIMES THEY
CAN COVER COSTS SOLELY THROUGH EXISTING OPERATIONAL
AND ANNUAL PROGRAMMING FUNDING AND NO ADDITIONAL
FUNDRAISING IS REQUIRED !T OTHER TIMES SPECIAL FUNDING
IS REQUIRED FOR THE EXHIBITION 4HE GALLERY MAY WISH
TO DISCUSS FUNDING OPTIONS WITH THE CURATOR AND MAY
ALSO REQUEST SOME ASSISTANCE IN THE PREPARATION OF
GRANT APPLICATIONS
4HE CURATOR´S ROLE
4HE CURATOR MAY BE ASKED TO SUPPLY THE 3OME THINGS TO REMEMBER WHEN
GALLERY WITH BASIC INFORMATION FOR USE IN WRITING A GRANT APPLICATION
GRANT AND SPONSORSHIP PROPOSALS TO BE
2EAD THE GUIDELINES CAREFULLY "E CLEAR
PREPARED BY THE GALLERY
ABOUT WHAT INFORMATION IS ASKED FOR AND
4HIS MATERIAL USUALLY TAKES THE BE SURE YOU ADDRESS THESE ITEMS
FOLLOWING FORM
"E CONCISE !DHERE TO ANY RESTRICTIONS
#ONCISE PROJECT DESCRIPTION ON THE LENGTH OF GRANT MATERIALS )F NOT
WORDS MAXIMUM YOU RISK THE POSSIBILITY OF SOME PAGES
OF TEXT OR SUPPORT MATERIALS NOT BEING
"IOGRAPHICAL PARAGRAPHS ON ARTISTS
SUBMITTED TO THE ADJUDICATORS
WORDS EACH ANDOR A FULL
ARTIST´S #6 IF THERE IS ONLY ONE OR $O NOT ASSUME THE READER WILL UNDERSTAND
TWO ARTISTS THROUGH IMPLICATION OR HAVE PRIOR
KNOWLEDGE OF THE SUBJECT &IND CLEAR
#URATOR´S #6 AND PARAGRAPH
FORM
LANGUAGE TO SAY WHAT YOU MEAN AND TRY
BIOGRAPHY FOR VARYING USES
TO ANTICIPATE WHAT THE ADJUDICATORS WILL
0ROJECT BUDGET NEED TO LEARN FROM YOUR PROPOSAL
;3EE SECTION
"UDGETING= ,EAVE ENOUGH TIME AFTER WRITING THE
APPLICATION TO SLEEP ON IT AND REVIEW THE
/CCASIONALLY THE GALLERY ASKS THAT THE NEXT DAY ANDOR HAVE OTHERS REVIEW IT FOR
CURATOR PREPARE ONE OR MORE GRANT ACCURACY AND CLARITY )F YOU ARE SUBMITTING
APPLICATIONS IN FULL )F SO THIS LABOUR SHOULD THE APPLICATION ON BEHALF OF A GALLERY OR
BE A COMPONENT OF THE WORK FOR WHICH TEAM OF INDIVIDUALS ENSURE THEY AGREE
THE CURATOR IS BEING PAID WITH APPROPRIATE WITH THE WRITTEN PROPOSAL AND ALLOW TIME
CONSIDERATION FOR FUNDRAISING ASSISTANCE FOR REVISIONS
0!'%
&UNDRAISING DEVELOPMENT
#AREFULLY CHECK FOR SPELLING MISTAKES OF ARTIST TITLE OF THE WORK DATE OF THE WORK
AND TYPOS MEDIUM AND DIMENSIONS HEIGHT PRECEDES
WIDTH PRECEDES DEPTH )NCREASINGLY #$S OF
,EAVE SOME TIME TO PREPARE SUPPORT
DIGITAL IMAGES ARE PREFERRED OVER SLIDES EG
MATERIALS )T ALWAYS TAKES LONGER THAN
THE #ANADA #OUNCIL WILL NO LONGER ACCEPT
YOU THINK
SLIDES )N THIS CASE A LIST OF IMAGES CAN BE
)NCLUDE VISUAL MATERIALS THAT REPRESENT THE INCLUDED RIGHT ON THE DISC BUT ALSO INCLUDE
ARTIST´S WORK IN THE STRONGEST WAY POSSIBLE A PAPER COPY ! $6$ CAN BE EFFECTIVE FOR
0OOR VISUALS CAN WORK AGAINST YOUR PROPOSAL SHOWING WORK THAT IS AUDIENCE INTERACTIVE
MAKING IT DIF½CULT FOR JURORS TO SEE THE OR EXCERPTS OF ½LM OR VIDEO WORKS OR IN
ARTIST´S INTENTIONS CLEARLY )T IS BETTER TO HAVE DOCUMENTING AN INSTALLATION OF MEDIA
A FEW GOOD IMAGES THAN MANY POOR ONES "E ROBOTICS OR OTHER MOVING COMPONENTS
CERTAIN NOT TO DUPLICATE IMAGES %ACH IMAGE
.EVER SEND ORIGINAL SLIDES OR OTHER ORIGINAL
SHOULD PROVIDE DIFFERENT INFORMATION
DOCUMENTATION -ATERIALS CAN BE LOST OR
3LIDES AND OTHER VISUAL MATERIALS MUST BE DAMAGED 3OME FUNDING AGENCIES RETAIN
CLEARLY LABELED WITH NUMBERS CORRESPONDING SUPPORT MATERIALS IF THE GRANT IS APPROVED
TO THE SLIDE OR OTHER FORMAT LIST )F USING ALTHOUGH MOST WILL RETURN PUBLICATIONS IF
SLIDES COLOURED DOTS WITH NUMBERS SHOULD REQUESTED
BE PLACED IN THE BOTTOM LEFT HAND CORNER
OF THE SLIDE ,ABELS SHOULD STATE THE NAME
4IM ,EE 2EMAKES 6ARIATIONS
EXHIBITION VIEW AT 0RESENTATION (OUSE
'ALLERY .ORTH 6ANCOUVER
0HOTO %RIK (OOD
0!'%
,EGACIES .OW #URATORIAL 4OOLKIT
&UNDING OPPORTUNITIES
'RANTS AND SPONSORSHIPS COST OR MORE OFTEN AT A DISCOUNT 3OME
AREAS WITH GOOD POTENTIAL FOR SUCH SUPPORT
3EVERAL SOURCES MAY BE REQUIRED TO COVER
INCLUDE HOTEL ACCOMMODATION FOR VISITING
PROJECT COSTS INCLUDING
ARTISTSCURATORSSPEAKERS FOOD AND DRINK
&EDERAL PROVINCIAL AND MUNICIPAL FOR RECEPTIONS BUILDING MATERIALS OR PAINT
GOVERNMENT GRANT PROGRAMS FOR INSTALLATIONS PRINTING OF PROMOTIONAL
MATERIALS ANDOR PUBLICATIONS AND DIGITAL
4HE #ANADA #OUNCIL FOR THE !RTS
SCANNING OF VISUALS !NY SUCH PROPOSAL
&OUNDATIONS AND OTHER PRIVATE FUNDING FOR IN
KIND SUPPORT IS MORE LIKELY TO BE
ORGANIZATIONS SUCCESSFUL IF THE PRODUCING ORGANIZATION
#ORPORATIONS AND BUSINESSES ANDOR THE CURATOR HAVE A POSITIVE IDEALLY
LONG
STANDING RELATIONSHIP WITH THE
)NDIVIDUAL DONATIONS COMPANY ANDOR IF THERE IS A LIKELIHOOD OF
)T IS IMPORTANT TO START EARLY IN PLANNING FUTURE BUSINESS WITH THE COMPANY (OWEVER
GRANT APPLICATIONS AND CORPORATE EVERY RELATIONSHIP MUST HAVE A BEGINNING
APPROACHES AS IT CAN TAKE THREE TO SO HARNESS EARNEST OPTIMISM FOR THOSE ½RST
MONTHS FROM SUBMISSION TO RECEIPT OF APPROACHES
THE DECISION )NFORMATION ABOUT A WIDE
RANGE OF FUNDING SOURCES IS AVAILABLE &UNDRAISING EVENTS
ON THE ,EGACIES .OW WEBSITE
WWWLEGACIESNOWCOM CLICK ON %XPLORE &UNDRAISING EVENTS SUCH AS SPECIAL SCREENINGS
!RTS AND THEN 2ESOURCES OR ART AUCTIONS ARE ALSO AN OPTION FOR
THE PRODUCING GALLERY (OWEVER A GALLERY
WILL USUALLY ORGANIZE THESE EVENTS TO RAISE
)N
KIND DONATIONS FUNDS FOR ONGOING OPERATIONALGENERAL
3OME COSTS CAN BE COVERED BY SECURING PROGRAMMING COSTS AND NOT FOR SPECI½C
IN
KIND DONATIONS FROM COMPANIES THAT EXHIBITION PROJECTS
CAN PROVIDE MATERIALS OR SERVICES AT NO
0!'%
!RTIST AGREEMENTS AND LOAN NEGOTIATIONS
!RTIST
AGREEMENTS
AND LOAN NEGOTIATIONS
0!'%
,EGACIES .OW #URATORIAL 4OOLKIT
!RTWORKS FOR AN EXHIBITION USUALLY COME FROM ½VE
CATEGORIES OF LENDERS THE ARTIST THE ARTIST´S PRIVATE
COMMERCIAL GALLERY A PUBLIC GALLERY OR MUSEUM THAT
OWNS THE WORK A CORPORATEBUSINESS COLLECTION OR A
PRIVATE COLLECTOR
4HE CURATOR IS RESPONSIBLE FOR OBTAINING AGREEMENTS
IN PRINCIPLE REGARDING THE LOAN OF ARTWORK 4HE GALLERY
WILL THEN MAKE FORMAL REQUESTS BASED ON INFORMATION
PROVIDED BY THE CURATOR .OTE THE LOAN AGREEMENT IS
BETWEEN THE ARTIST OR LENDER AND THE PRODUCING GALLERY
,ETTER OF AGREEMENT OR CONTRACT
)N #ANADA LIVING ARTISTS EXPECT TO RECEIVE 4HE LETTER OF AGREEMENT OR
A FORMAL WRITTEN AGREEMENT CON½RMING THE CONTRACT WITH THE ARTIST SHOULD
DETAILS OF THE EXHIBITION AND THE SPECI½CS OF STATE THE FOLLOWING
THEIR WORK SELECTED FOR THE EXHIBITION 4HIS
4ITLE OF EXHIBITION AND NAME OF CURATOR
MAY BE A LETTER OF AGREEMENT WHICH REQUESTS
THEIR WRITTEN CONSENT OR A FORMAL CONTRACT .AME AND ADDRESS FOR PRODUCING
FOR SIGNATURE BY BOTH PARTIES ARTIST AND GALLERY VENUE
GALLERY !LTHOUGH THE CURATOR WILL GENERALLY
$ATES FOR THE EXHIBITION AND
BE RESPONSIBLE FOR CON½RMING THE ARTIST´S
OPENING EVENT
CONSENT REGARDING THEIR WORK IN THE SHOW
IT IS THE RESPONSIBILITY OF THE GALLERY TO 4ITLE OF ARTIST´S WORK SELECTED FOR THE SHOW
PREPARE AND FOLLOW UP WITH FORMAL WRITTEN AND DATE IF REQUEST IS FOR ONLY ONE
AGREEMENTS WITH THE ARTIST /FTEN THERE IS OR SEVERAL ARTWORKS )F THE REQUEST IS FOR
A LOAN AGREEMENT FORM IF THE WORK COMES MANY WORKS REFER TO THE LIST IN THE LOAN
FROM THE ARTIST IN ADDITION TO A LETTER OR FORM IF ATTACHED OR TO A SELECTION TO
CONTRACT FOR THE ARTIST BE DETERMINED !SK ARTISTS TO CON½RM
LABEL INFORMATION INCLUDING ANY CREDITS
;3EE SECTION REGARDING LOAN
AND PROVIDE MISSING CONTACT INFORMATION
AGREEMENT FORMS=
!MOUNT OF ARTIST FEE AND ANTICIPATED
PAYMENT DATE OFTEN THE WEEK OF
INSTALLATION
2ESPONSIBILITIES OF THE GALLERY INCLUDING
PAYMENT OF AN ARTIST´S FEE PAYMENT OF
TRAVEL COSTS INSTALLATION AND LECTURE FEES
IF APPLICABLE FRAMINGCRATING IF APPLICABLE
0!'%
!RTIST AGREEMENTS AND LOAN NEGOTIATIONS
SHIPPING INSURANCE COVERAGE INSTALLATION VITAE 4HE ARTIST MAY NEED TO UNDERTAKE
PROMOTION OF THE SHOW PROVISION OF THE INSTALLATION OF THE WORK AND PARTICIPATE
PROMOTIONAL MATERIALS INCLUDING INVITATIONS IN ANY PUBLIC PROGRAMS IF REQUESTED
NEWSLETTERS TO THE ARTIST IF APPLICABLE AT THE LEAST THE ARTIST MUST PROVIDE VERY
PRODUCTION OF A PUBLICATION STATING HOW SPECI½C INSTALLATION INSTRUCTIONS FOR THEIR
MANY COPIES THE ARTIST WILL RECEIVE AND WORK ESPECIALLY IF THE WORK IS COMPLEX
ANY OTHER RELEVANT INFORMATION AFFECTING
.OTE /NCE THE LETTER OF REQUEST HAS BEEN
THE ARTIST AND THEIR WORK
RECEIVED BY THE ARTIST OR LENDER THERE MAY
2ESPONSIBILITIES OF THE ARTIST INCLUDING BE ADDITIONAL INFORMATION REQUESTED BY
PROVISION OF COMPLETE AND ACCURATE THEM OR A NEGOTIATION OF TERMS MAY BE
INFORMATION ON THEIR ART INCLUDING REQUIRED 4HE PERSON BEING APPROACHED MAY
DIMENSIONS VISUAL MATERIALS FOR USE IN NEED TO BE PERSUADED 0ROMPT ATTENTION
PROMOTION OF THE EXHIBITION AND POSSIBLY COURTESY AND PRECISE FACTUAL INFORMATION CAN
FOR REPRODUCTION IN A PUBLICATION MAILING GO A LONG WAY TO SECURING A ±YES² !LSO THE
LIST FOR INVITATIONS IF REQUESTED UP TO ARTIST MAY SUGGEST A CHANGE TO THE SELECTION
DATE BIOGRAPHICAL MATERIAL AND CURRICULUM OF WORK FOR THE PROJECT
,OAN AGREEMENT
4HE LOAN AGREEMENT FORM WILL INCLUDE ONLY FORM DIRECTLY TO THE PRODUCING GALLERY
THE SPECI½CS ABOUT THE WORK ITSELF AND LOAN
4HE LOAN AGREEMENT FORM USUALLY REQUESTS
ARRANGEMENTS FOR THE SHOW )T CAN BE USED
THAT THE LENDER PROVIDE THE INSURANCE VALUE
FOR ALL CATEGORIES OF LENDERS !LMOST WITHOUT
OF THE ART
EXCEPTION THE PRODUCING GALLERY WILL BE
RESPONSIBLE FOR SENDING OUT LOAN FORMS .OTE /FTEN THE CURATOR NEVER SEES THE
4HEY WILL NEED THE CURATOR´S EXHIBITION LIST COMPLETED SIGNED LOAN FORMS 3HEHE IS WELL
WITH DETAILED INFORMATION ON THE WORKS ADVISED TO DISCUSS A PROCESS IN WHICH THE
AND LENDER CONTACT INFORMATION IN ORDER TO GALLERY RELAYS PERTINENT INFORMATION FROM THE
PREPARE THE FORMS FORM TO THE CURATOR )T IS ESSENTIAL
THAT THE CURATOR SEE ANY CORRECTEDUPDATED
)NSTITUTIONS ESPECIALLY LARGER ORGANIZATIONS WILL
INFORMATION ON THE ARTWORK AND THIS SHOULD
OFTEN PREFER TO USE THEIR OWN CONTRACT OR LOAN
BE ENTERED ONTO THE MASTER LIST
AGREEMENT FORM AND WILL UPON AGREEING TO A
LOAN REQUEST STATE THAT THEY WILL SEND THE LOAN
#,)#+ (%2% &/2 ! $/7.,/!$!",% 0$& &/2 !
3!-0,% ,/!. &/2- /2 3%% 0!'%3
0!'%
[Logo of gallery]
Loan Agreement
Between [Gallery name] and [lender name]
Title of exhibition: [Title]
Location of exhibition: [Gallery name and full address]
Exhibition dates: [Dates]
Duration of loan: [dates from pick up to return of artwork]
Number of works related to this loan:
1. Lender
Name:
Address:
Telephone:
Email:
Exact form in which the lender’s name is to appear in the catalogue and/or exhibition label:
2. Description of the artwork
Name of artist:
Title:
Date:
Medium:
Dimensions (height x width x depth; unframed): [specify centimetres or inches]
Framed?: [if yes, please describe, include dimensions]
Attach separate list if more than one artwork.
3. Condition of artwork
Briefly describe the condition of the artwork:
Describe any special handling required:
It is understood that the artwork will be returned in its original state unless other
arrangements are made in writing.
0!'%
4. Reproduction
Can you supply reproduction quality photographs or digital scans of the work?
If not, will you provide permission for the work to be photographed, if required?
[The Gallery] will have the right to reproduce the image from this loan in the media,
advertising, the gallery website (low-resolution), and in the exhibition catalogue. Lender credit
with reproductions will be the same as noted in #1 unless the Gallery is otherwise advised.
5. Insurance
Insurance value of the artwork(s): $
6. Transportation
Address for collection and return of work:
Contact for pick up/return of work:
Does the work have an existing crate? If yes, dimensions (height x width x depth):
Are there any special transportation requirements?
The work will be returned to the above address (Item #1) unless otherwise instructed
Signatures indicating acceptance of the conditions of this loan as stated above:
Lender _____________________________________
Date _____________________________________
For [Gallery name]:
[Name] _____________________________________
Date _____________________________________
Note:
The Gallery may also include a sheet with “Conditions of Incoming Loan” that states general
policies regarding the handling of art on loan (the same degree of care used as the Gallery uses
with work from its own collection); right to remove the work from the exhibition if deemed
necessary with assurances of notification to lender; insurance policy held by the Gallery; other).
0!'%
,EGACIES .OW #URATORIAL 4OOLKIT
$AMIAN -OPPETT ARTIST´S TALK AT
#ONTEMPORARY !RT 'ALLERY 6ANCOUVER
0!'%
0UBLIC PROGRAMMING
0UBLIC
PROGRAMMING
0!'%
,EGACIES .OW #URATORIAL 4OOLKIT
%XHIBITIONS AND OTHER ART PROJECTS SHOULD BE PROMOTED
ACTIVELY TO THE PUBLIC IN ORDER TO ENSURE AS LARGE AN
AUDIENCE AS POSSIBLE $IFFERENT TYPES OF GALLERIES
HAVE DIFFERENT CONSTITUENCIES AND PRIORITIES !RTIST
RUN CENTRES FOR INSTANCE HAVE A DECLARED PRIMARY
RESPONSIBILITY TO THE ART COMMUNITY
.EVERTHELESS ALL ORGANIZATIONS RECEIVING PUBLIC FUNDING HAVE A RESPONSIBILITY TO PROVIDE AND
ENCOURAGE PUBLIC ACCESS TO THEIR PROGRAMS -OST GALLERIES TAKE A PROACTIVE ROLE IN THE AREA OF
ART EDUCATION AND PUBLIC DIALOGUE ABOUT ART BY ORGANIZING PUBLIC EVENTS AS WELL AS ACTIVITIES FOR
STUDENTS AND SCHOOL GROUPS #URATORS ARE SOMETIMES ASKED TO CONTRIBUTE TO THE LATTER (OWEVER
THIS IS THE RESPONSIBILITY OF THE GALLERY
%XHIBITIONS ARE OFTEN ACCOMPANIED BY PUBLIC EVENTS AND ACTIVITIES THAT ANIMATE THE EXHIBITION
THEME AND THE ARTIST´S IDEAS ANDOR TECHNIQUES AND PROVIDE ADDITIONAL INFORMATION AND INSIGHT
FOR THE VIEWER 4HESE EVENTS OFFER IMPORTANT OPPORTUNITIES FOR PUBLIC DEBATE AS WELL AS PEER
NETWORKING AND CAN SERVE TO INTRODUCE OUT
OF
TOWN PARTICIPANTS AND COMMUNITY MEMBERS TO
EACH OTHER
0ROGRAMMING IDEAS
4HE CURATOR IS OFTEN INVOLVED IN PRELIMINARY %VENTS CAN INCLUDE
DISCUSSIONS WITH THE GALLERY REGARDING
!RTIST´S LECTURES PUBLIC CONVERSATIONS
THE DEVELOPMENT OF PUBLIC PROGRAMS IN
BETWEEN AN ARTIST AND A MODERATOR OR
ASSOCIATION WITH THE EXHIBITION 4HE GALLERY
CURATOR AND WALKING TOURS OF EXHIBITIONS
GENERALLY TAKES THE LEAD COORDINATING
ARRANGEMENTS WITH THE PARTICIPANTS OF THIS 0ANEL DISCUSSIONS OR SYMPOSIA
PROGRAM CON½RMING FEE AMOUNTS AND MAKING
7ORKSHOPS
TRAVEL ARRANGEMENTS WHEN APPROPRIATE ,ESS
COMMONLY THE GALLERY MAY CONTRACT THE 2ELATED ½LM AND VIDEO SCREENINGS
CURATOR TO DEVELOP AND ARRANGE FOR THE PUBLIC 0RESENTATIONS FROM OTHER DISCIPLINES
PROGRAM &EES SHOULD BE PAID TO CONTRIBUTORS THAT WILL RESONATE WITH THE EXHIBITION
FOR ALL PUBLIC PROGRAMMING EVENTS INCLUDING POETRY OR LITERARY READINGS
MUSICAL PERFORMANCES AND LECTURES OR
WALKING TOURS BY RELEVANT SPECIALISTS
E G GEOLOGIST ANTHROPOLOGIST
METEOROLOGIST SCHOLAR IN CULTURAL STUDIES
URBAN PLANNER ETC
%DUCATION PROGRAMS FOR STUDENTS AND
OTHER TARGETED GROUPS
0!'%
0UBLIC PROGRAMMING
#OMMUNITY #ONSULTATION
AND #OLLABORATION
3OMETIMES A PROJECT WILL BENE½T FROM SOME #ONSIDER CAREFULLY THE PEOPLE YOU CHOOSE
FORM OF COMMUNITY CONSULTATION ! PARTICULAR TO INVOLVE $O NOT BE SHY ABOUT ASKING FOR
CONSTITUENCY EG LOCAL RESIDENTS YOUTH AT ADVICE FROM COLLEAGUES INCLUDING PEOPLE YOU
RISK PEOPLE INVOLVED IN URBAN PLANNING AND DO NOT KNOW YET )F YOUR PROJECT WILL INCLUDE
DEBATE WRITERS SOCIAL SERVICE COUNSELLORS COMMUNITY CONSULTATION OR COLLABORATION
SENIORS LOCAL ARTISTS HISTORIANS WILL BE SET UP A COMMITTEE OR GROUP WHICH INCLUDES
ABLE TO CONTRIBUTE USEFUL IDEAS TOWARDS THE A RANGE OF PERSPECTIVES AND SKILLS 3TART EARLY
DEVELOPMENT OF A PUBLIC PROGRAM ANDOR AND BE PREPARED TO COMMIT LOTS OF TIME TO
ASPECTS OF THE EXHIBITION ITSELF )F BROUGHT THE ENDEAVOUR
IN AT THE VERY EARLY STAGES OF A PROJECT AND
&OR INFORMATION ON THE COMMUNITY
EMBRACED AS PART OF A CONCEPT DEVELOPMENT
COLLABORATION PROCESS SEE $IERKING ,YNN
PROJECT TEAM THESE COLLABORATORS CAN GREATLY
$ *OHN ( &ALK ET AL #OLLABORATION #RITICAL
EXPAND THE SCOPE AND FOCUS OF THE PROJECT
#RITERIA FOR 3UCCESS 3EATTLE 0ACI½C #ENTRE
AND HELP TO SHAPE THE RESULTING OUTCOMES
AND 3CIENCE #ENTRE PP
IN WAYS THAT ARE MOST MEANINGFUL TO THE
#OURSES AND SEMINARS ARE AVAILABLE ON THE
COMMUNITY
THEORY AND PRACTICALITIES OF COMMUNITY
COLLABORATION
3CHEDULING
#ONSIDER THE PACING OF DATESTIMES FOR THE SPACE OF A WEEK OR LESS (OWEVER THE
PROGRAM ACTIVITIES AND THE POTENTIAL FOR QUESTION MUST BE ASKED CAN THE GALLERY
PUBLIC ATTENDANCE 4O AVOID CON¾ICTS WITH DRAW AN AUDIENCE FOR EVENTS HELD TWO DAYS
OTHER ACTIVITIES IN THE COMMUNITY IT IS USEFUL IN A ROW )T MIGHT BE WISER TO HAVE THE ARTIST
TO CHECK PUBLIC PROGRAMMING SCHEDULES PRESENT A SHORT TALK AT THE BEGINNING OF THE
ORGANIZED BY LOCAL ARTS GROUPS (OWEVER OPENING RECEPTION OR STAY LONGER IN ORDER TO
SOME OVERLAP WILL INEVITABLY OCCUR 3OMETIMES SEPARATE THE TWO EVENTS BY MORE THAN A DAY
COORDINATING EVENTS WITH ANOTHER GALLERY IN OR TWO
THE SAME VICINITY FOR THE SAME EVENING CAN
BE BENE½CIAL IF TIMING IS CONSIDERED
)T IS SOMETIMES FEASIBLE TO CONDENSE TRAVEL
REQUIREMENTS FOR PROGRAM PARTICIPANTS &OR
INSTANCE AN ARTIST CAN BE PRESENT FOR THE
INSTALLATION OF THEIR WORK FOR THE OPENING
RECEPTION AND TO GIVE AN ARTIST´S TALK ALL IN
0!'%
,EGACIES .OW #URATORIAL 4OOLKIT
3ZUPER 'ALLERY 4HE %XTRAS PERFORMANCE
PRODUCED BY 7ESTERN &RONT %XHIBITIONS AT
THE 6ANCOUVER 0UBLIC ,IBRARY /CTOBER
0HOTO 3COTT -ASSEY
0!'%
-EDIA RELATIONS AND AUDIENCE DEVELOPMENT
-EDIA RELATIONS
AND AUDIENCE
DEVELOPMENT
0!'%
,EGACIES .OW #URATORIAL 4OOLKIT
!N IMPORTANT ASPECT OF AUDIENCE DEVELOPMENT IS
MARKETING AND MEDIA RELATIONS 'ENERALLY THE PRODUCING
GALLERY IS FULLY RESPONSIBLE FOR THIS ACTIVITY BUT THEY MAY
ASK THE CURATOR TO CONTRIBUTE TO CERTAIN COMPONENTS
7ORKING WITH A DESIGNER
4HE GALLERY ANDOR THE CURATOR WILL WORK WITH .OTE 4HE CURATOR IS NOT ALWAYS INVOLVED IN SUCH WORK
A DESIGNER TO DEVELOP THE PUBLIC IMAGE OF
;3EE SECTION ON PUBLICATIONS=
THE PROJECT WHICH WILL BE RE¾ECTED IN THE
PROMOTIONAL MATERIALS 4HIS DESIGN APPROACH
SHOULD BE USED CONSISTENTLY FOR ALL MATERIALS 'ALLERY STAFF MUST CAREFULLY PROOFREAD THE
4HE SELECTION OF THE DESIGNER IS ALMOST DESIGN LAYOUTS FOR ALL PROMOTIONAL MATERIALS
ALWAYS THE GALLERY´S DECISION BUT A CURATOR INCLUDING ADVERTISEMENTS TO CATCH AND
CAN MAKE A SUGGESTION IF THERE IS SOMEONE CORRECT TYPOGRAPHICAL AND OTHER ERRORS
THEY VALUE WORKING WITH 4HIS IS ESPECIALLY 3OMETIMES THE CURATOR IS ASKED TO DO SOME
IMPORTANT WITH REGARD TO ANY PUBLICATION OF THIS PROOFREADING A STEP WHICH IS BENE½CIAL
ESPECIALLY IF THE CURATOR WILL BE VERY INVOLVED TO THE GALLERY SINCE THE CURATOR IS THE ONE
IN THE COMPILATION OF CATALOGUE MATERIALS AND WHO IS MOST FAMILIAR WITH THE DETAILS OF A
OVERSEEING THE CONTENT SEQUENCING PROJECT EG THE SPELLING OF ARTISTS´ NAMES
AND DESIGN
0ROMOTIONAL MATERIALS
0ROMOTIONAL MATERIALS ARE INTENDED FOR SHORT
-EDIA RELEASE
TERM USE 4HE CURATOR SHOULD ASK FOR MULTIPLE
! MEDIA RELEASE BRIE¾Y ANNOUNCES THE
COPIES FOR HERHIS ARCHIVE
PROJECT ITS MAJOR POINTS OF INTEREST AND THE
PARTICIPATING ARTISTS WITH PERTINENT DETAILS
'ALLERY NEWSLETTER
ABOUT THE EVENT WHERE WHEN 4HIS WILL
4HESE PUBLICATIONS ARE OFTEN SEASONAL BE SENT TO A BROAD LIST OF MEDIA CONTACTS
AND THE COPY FOR AN ARTICLE OR SHORT INCLUDING NEWSPAPER AND MAGAZINE EDITORS
ANNOUNCEMENT IS REQUIRED ONE TO SIX MONTHS AND REVIEWERS OF ART AND OTHER SPECIALIST
PRIOR TO THE EXHIBITION OPENING 4HE TEXT WRITERS DEPENDING ON THE ISSUES ADDRESSED
IS USUALLY DERIVED FROM THE CURATOR´S BASIC IN THE PROJECT AS WELL AS TELEVISION AND RADIO
EXHIBITION STATEMENT WHICH WILL HAVE BEEN ARTS PROGRAMS -EDIA RELEASES SHOULD IDEALLY
SUPPLIED TO THE GALLERY )T SHOULD BE WRITTEN BE NO LONGER THAN ONE PAGE AND MUST INCLUDE
REVISED BY THE CURATOR ANDOR APPROVED BY PARTNERSHIP SPONSOR AND FUNDING CREDITS
THE CURATOR IF DRAFTED BY GALLERY STAFF /FTEN GALLERY HOURS AND CONTACT INFORMATION AT THE
ONE OR MORE VISUAL IMAGES WILL BE REQUIRED TO END 4HEY ARE SENT ON GALLERY LETTERHEAD BY
ACCOMPANY THIS TEXT FAX REGULAR OR ELECTRONIC MAIL
0!'%
-EDIA RELATIONS AND AUDIENCE DEVELOPMENT
0UBLIC SERVICE ANNOUNCEMENT 03! "ROCHURE
! 03! IS A NON
COMMERCIAL ADVERTISEMENT ! BROCHURE CAN BE PRODUCED FOR PUBLIC
USUALLY ABOUT TO WORDS LONG AIRED DISTRIBUTION WITHIN THE GALLERY OR MORE
ON RADIO AND TELEVISION OR PLACED IN BROADLY IN ORDER TO PROVIDE MORE DETAILED
NEWSPAPERS AND MAGAZINES OFTEN IN PREVIEW INFORMATION ABOUT THE PROJECT )T WILL
SECTIONS ANNOUNCING CURRENT OR UPCOMING OFTEN CONTAIN A BRIEF CURATORIAL STATEMENT
EVENTS 03!S SHOULD BE PREPARED ON BIOGRAPHICAL PARAGRAPHS ON THE ARTISTS
GALLERY LETTERHEAD AND ARE USUALLY SENT WELL AND INFORMATION ON THE PUBLIC PROGRAMS FOR
IN ADVANCE VIA REGULAR OR ELECTRONIC MAIL ! THE PROJECT
03! SHOULD CONTAIN ONLY NECESSARY WORDS
THAT NONETHELESS CONVEY SOME EXCITEMENT 0OSTER
ABOUT THE PROJECT
! POSTER CAN BE DISTRIBUTED BOTH INDOORS
AND OUTDOORS THROUGHOUT THE CITY OR
%XHIBITION INVITATION OR ¾YER
NEIGHBOURHOOD AS A MAILER TO OTHER
4HE INVITATION IS SENT TO THE GALLERY´S GALLERIES AND THE ART COMMUNITY OR FOR SALE
MEMBERSHIP AND PROFESSIONAL CONTACTS OR FREE INSIDE THE GALLERY -OST CITIES HAVE
AS WELL AS ALL PROJECT ARTISTS THE CURATOR´S POSTER DISTRIBUTION ENTREPRENEURS WHO WILL
PROFESSIONAL MAILING LIST AND THE ARTIST´S POST AN ITEM FOR A SPECI½ED RATE PER
PROFESSIONAL MAILING LISTS USUALLY WITH A LIMIT OR ITEMS
ON HOW MANY ADDRESSES CAN BE SUPPLIED
0AID ADVERTISING
4HE GALLERY WILL DETERMINE THE BUDGET FOR PROMOTE EITHER INDIVIDUAL EXHIBITIONS OR A
ADVERTISING AN EXHIBITION AND WILL UNDERTAKE SEASON OF EXHIBITIONS 4HE SPACE IN AN AD
THIS WORK 0AID ADVERTISING CAN BE VERY IS OFTEN LIMITED SO THE INFORMATION MUST BE
EXPENSIVE 7ITH A LIMITED BUDGET A GALLERY CONCISE !S WITH ALL PROMOTIONAL MATERIALS
MUST BE VERY SELECTIVE ABOUT WHERE IT PLACES ADVERTISEMENTS SHOULD INCLUDE THE TITLE OF THE
THESE DOLLARS AND SOME GALLERIES MUST DEPEND SHOW ARTIST´S NAME CURATOR´S NAME DATES AND
LARGELY ON PUBLIC SERVICE ANNOUNCEMENTS AND LOCATION FOR THE SHOW PARTNERSHIPSFUNDERS
EDITORIAL COVERAGE TO GET THE WORD OUT ABOUT AND THE GALLERY´S WEBSITE ADDRESS 3OME
THEIR PROJECT GALLERIES ARE ALSO ABLE TO ADVERTISE IN LOCAL OR
NATIONAL NEWSPAPERS
4HE APPEARANCE OF THE ADVERTISEMENTS CAN
RELATE GRAPHICALLY TO THE OTHER MATERIALS BEING 4HE GALLERY WILL NEED TO SEEK ARTISTS´
PRODUCED FOR AN EXHIBITION THE INVITATION PERMISSIONS FOR REPRODUCING THEIR ARTWORK
POSTER ETC (OWEVER MANY GALLERIES USE A ON ANY PRINTED OR DIGITAL PROMOTIONAL ITEMS
BASIC TEMPLATE FOR ALL OF THEIR ADS /FTEN THIS PERMISSION IS REQUESTED AT THE
BEGINNING AND IS PART OF THE ARTIST´S CONTRACT
-OST PUBLIC GALLERIES HAVE CONTRACTS WITH ART
WITH THE GALLERY )N SOME CASES REPRODUCTION
MAGAZINES TO ADVERTISE IN EACH ISSUE OFTEN
FEES WILL BE REQUIRED SEE #!2## WEBSITE
THREE OR FOUR TIMES A YEAR 4HESE ADS WILL
WWWCARCCCA
0!'%
,EGACIES .OW #URATORIAL 4OOLKIT
-EDIA FOLLOW
UP
4HE GALLERY SHOULD FOLLOW
UP WITH THE YOU IF AN INTERVIEW HAS BEEN REQUESTED )F THE
MEDIA BY MAKING PHONE CALLS TO INQUIRE IF CURATOR HAS A GOOD RELATIONSHIP WITH AN ART
THEY WOULD BE INTERESTED IN A TOUR OF THE REVIEWER AND WISHES TO APPROACH THIS PERSON
EXHIBITION IF ADDITIONAL VISUALSINFORMATION ABOUT WRITING ABOUT THE EXHIBITION IT IS BEST
ARE REQUIRED ANDOR IF THEY WOULD LIKE TO TO CONSULT WITH THE GALLERY ½RST
INTERVIEW THE ARTISTS ANDOR CURATOR BY
&OR AN EXCELLENT SOURCE OF INFORMATION ABOUT
TELEPHONE OR IN PERSON 4HE REVIEWER SHOULD
MARKETING VISIT THE ,EGACIES .OW WEBSITE
NOT FEEL PRESSURED TO RESPOND (OWEVER A
WWWLEGACIESNOWCOM CLICK ON %XPLORE !RTS THEN
PERSONAL TOUCH A TELEPHONE CALL OR INFORMAL
2ESOURCES AND SELECT THE !RTS -ARKETING 2ESOURCE
EMAIL NOTE CAN BE EFFECTIVE
WHICH PROVIDES MANY LINKS TO MARKETING
RELATED
4HE GALLERY WILL NORMALLY LOOK AFTER MEDIA WEBSITES
COMMUNICATIONS AND WILL USUALLY ONLY CONTACT
&ACING (ISTORY 0ORTRAITS FROM 6ANCOUVER
0RESENTATION (OUSE 'ALLERY 6ANCOUVER
0HOTO 2OBERT +EZIERE
0!'%
-OUNTING THE EXHIBITION
-OUNTING
THE EXHIBITION
0!'%
,EGACIES .OW #URATORIAL 4OOLKIT
!LTHOUGH THE CURATOR WILL NOT BE RESPONSIBLE DIRECTLY
FOR ALL TASKS RELATED TO THE INSTALLATION AND OPENING
OF AN EXHIBITION SHEHE IS RESPONSIBLE FOR ENSURING
THAT THE WORK AND THE EXHIBITION ITSELF IS PRESENTED
TO THE BEST OF EVERYONE´S ABILITIES AND IN A MANNER
THAT IS BENE½CIAL FOR THE ARTISTS AND FOR EACH WORK OF
ART #AREFUL PLANNING AND ATTENTION TO DETAIL WILL HELP
ACHIEVE THIS GOAL
0LANNING FOR INSTALLATION NEEDS
4HE CURATOR MUST ENSURE THE GALLERY HAS WELL IN ADVANCE OF THE INSTALLATION ! LIST OF
ALL INFORMATION REQUIRED FOR INSTALLING THE REQUIREMENTS FOR EACH ARTWORK THOSE MORE
EXHIBITION 4HIS INFORMATION WILL INCLUDE COMPLEX THAN TWO
DIMENSIONAL FRAMED WORK
NECESSARY EQUIPMENT LOANS OR RENTALS AND A ¾OORPLAN WITH A PRELIMINARY LAYOUT
TECHNICAL SUPPORT WALL CONSTRUCTION WILL ALLOW THE GALLERY TO ANTICIPATE WHAT IS
COLOURS OF PAINT ETC 4HE CURATOR WILL HAVE NEEDED 4HIS SHOULD BE SENT MANY WEEKS OR
DISCUSSED INSTALLATION DETAILS WITH THE ARTISTS MONTHS IN ADVANCE
/N SITE TO INSTALL THE PROJECT
)N CONSULTATION THE GALLERY AND CURATOR OF TASKS FOR THE GALLERY TO UNDERTAKE &OR
WILL HAVE DETERMINED HOW MANY DAYS ARE INSTANCE THE BUILDING AND SET
UP FOR A VIDEO
REQUIRED TO INSTALL THE EXHIBITION 5SUALLY PROJECTION ROOM OR THE SET
UP OF OTHER
GALLERIES WILL SET ASIDE ½VE DAYS MINIMUM EQUIPMENT IN A DESIGNATED SPACE CAN BE
FOR THE CHANGE
OVER OF EXHIBITIONS )F THE DONE IN ADVANCE #ERTAINLY ALL PAINTING AND
PROJECT IS LARGER THAN USUAL OR HAS A LOT OF OTHER PREPARATION WORK IN THE SPACE CAN BE
COMPLEX REQUIREMENTS BE SURE TO DISCUSS COMPLETED BEFORE THE CURATOR APPEARS AND
WHETHER EXTRA INSTALLATION DAYS ANDOR MORE ARTWORKS CAN BE UNCRATED AND PLACED IN THEIR
STAFF ARE NEEDED 3INCE GALLERIES ½NALIZE THEIR TENTATIVE LOCATIONS IF THIS MAKES SENSE FOR
EXHIBITION DATES SIX TO MONTHS OR MORE THE EXHIBITION
IN ADVANCE IT IS ESSENTIAL TO THINK ABOUT THIS
7HILE UNPACKING THE WORK GALLERY STAFF WILL
EARLY ON
OFTEN PHOTOGRAPH THE PROCESS SO THE ART
4HE CURATOR SHOULD CALCULATE HOW MANY DAYS CAN BE REPACKED IN THE SAME MANNER AND TO
HERHIS PRESENCE IS REQUIRED )F EXPECTED ESTABLISH THE CONDITION OF THE ART ON ARRIVAL
TO BE PRESENT FOR ONLY THE ½NAL DAYS OF AN
#ONDITION REPORTS SHOULD BE DONE FOR THE
INSTALLATION SHEHE SHOULD PROVIDE A LIST
ARTWORKS AS SOON AS THE OBJECTS ARE UNPACKED
0!'%
-OUNTING THE EXHIBITION
7EATHERVANE PRODUCED BY /AKVILLE
'ALLERIES/TTAWA !RT 'ALLERY )NSTALLING
A WORK BY ,AWRENCE 7EINER AT 51!-
'ALLERY -ONTREAL
!NITA $UBE INSTALLING HER WORK FOR 2ESONANCE
#ONTEMPORARY !RT FROM )NDIA !NITA $UBE AND
3UBODH 'UPTA #ENTRE ! 6ANCOUVER
0HOTO !LICE -ING 7AI *IM
0!'%
,EGACIES .OW #URATORIAL 4OOLKIT
¯ RECORDING WHETHER OR NOT THERE HAS BEEN CLOSELY IN A COLLABORATIVE MANNER WITH THE
ANY CHANGE TO THE CONDITION SINCE NOTED ARTIST TO DETERMINE THE DESIGN AND LAYOUT OF
WHEN THE WORKS LEFT THE PREVIOUS LOCATIONS THE EXHIBITION )F THE EXHIBITION LAYOUT IS A
)F THERE ARE ANY CHANGES OR DAMAGE TO A CONCEPTUALLY INHERENT ASPECT OF THE ARTISTIC
PARTICULAR ARTWORK THE OWNER OF THE WORK VISION THE DESIGN MAY BE DEVELOPED PRIMARILY
MUST BE CONTACTED IMMEDIATELY TO DISCUSS BY THE ARTIST &OR GROUPTHEMATIC EXHIBITIONS
THE NEXT STEPS FOR REPAIR RETURN OF THE THE DESIGN IS DETERMINED BY THE CURATOR
WORK OR ANOTHER APPROACH 4HE GALLERY WILL
4HE CURATOR AND GALLERY STAFF ARE CHARGED
NORMALLY LOOK AFTER CONTACTING THE OWNER 4HE
WITH THE TASK OF PRESENTING THE ART AND THE
GALLERY IS RESPONSIBLE FOR THE PREPARATION OF
PROJECT IDEAS IN THE MOST VISUALLY EFFECTIVE
CONDITION REPORTS
PROFESSIONAL AND RESPECTFUL WAY POSSIBLE AND
/NCE PRESENT THE CURATOR MUST ASSESS THE SOMETIMES EXTRA EFFORT IS ESSENTIAL !RTWORK
APPEARANCE OF THE ARTWORK SPATIALLY IN THE MUST BE PRESENTED AS THE ARTISTS INTENDED
GALLERY AND DETERMINE IF THE PRELIMINARY ,ONG HOURS OF WORK MAY BE REQUIRED
LAYOUT WORKS WELL )F AT ALL POSSIBLE MAJOR ! POSITIVE PROBLEM
SOLVING APPROACH
CHANGES ONES THAT REQUIRE MOVEMENT OF DETERMINATION AND HUMOUR AND SOMETIMES A
WALLS FOR INSTANCE SHOULD BE AVOIDED AT BOOST OF ADRENALIN ARE REQUIRED )NEVITABLY
THIS JUNCTURE AND ARE OFTEN NOT AN OPTION THE SHOW IS ACCOMPLISHED IN TIME FOR THE
DUE TO TIME OR LABOUR RESTRICTIONS &OR SOLO OPENING RECEPTION EVEN IF ONLY MOMENTS
EXHIBITIONS THE CURATOR WILL USUALLY WORK VERY BEFORE THE DOOR OPENS
4HE OPENING RECEPTION
AND PUBLIC EVENTS
4HE CURATOR SHOULD BE PRESENT AT THE STAFF MEMBER WILL ACKNOWLEDGE THE PROJECT
EXHIBITION´S OPENING RECEPTION AND FOR SPONSORS PUBLICLY IF NOT THE CURATOR SHOULD
SOME OR ALL OF THE PUBLIC PROGRAMS THAT ARE INCLUDE THIS CREDIT
ORGANIZED IN CONNECTION WITH THE EXHIBITION
)T ALSO MAKES SENSE FOR THE CURATOR TO
/FTEN THE CURATOR WILL BE EXPECTED TO SAY A
INTRODUCE AN ARTIST´S TALK SCHOLAR´S LECTURE OR
FEW WORDS ABOUT THE PROJECT AT THE OPENING
OTHER EVENTS ORGANIZED IN CONNECTION WITH
RECEPTION AND WILL BE INTRODUCED TO THE
THE SHOW (OWEVER IF THE GALLERY IS NOT IN THE
AUDIENCE BY THE GALLERY´S DIRECTOR OR OTHER
CURATOR´S CITY OF RESIDENCE IT WILL NOT ALWAYS BE
STAFF MEMBER 4HIS IS ONE OPPORTUNITY
POSSIBLE 4HE CURATOR SHOULD NEGOTIATE THESE
TO ACKNOWLEDGE THE WORK OF COLLEAGUES
DETAILS WITH THE GALLERY LONG BEFORE THE ACTUAL
ARTISTS AND OTHERS WHO CONTRIBUTED TO THE
EVENTS OCCUR
PRODUCTION OF THE PROJECT 4HE GALLERY
0!'%
7RAP
UP
7RAP
UP
0!'%
,EGACIES .OW #URATORIAL 4OOLKIT
&INANCIAL TASKS
%NSURING PAYMENT OF FEES TO &INAL ACCOUNTING
ARTISTS SUPPLIERS AND THE CURATOR
!LL RECEIPTS ACCUMULATED BY THE CURATOR
4HIS WORK IS UNDERTAKEN BY THE GALLERY BUT FOR RELEVANT PROJECT EXPENSES SHOULD
THE CURATOR SHOULD PROVIDE THE INFORMATION BE ASSEMBLED IMMEDIATELY AFTER THE
NEEDED IN ORDER TO COMPLETE THESE PROJECT CLOSES EG TRAVEL EXPENSES AND
TASKS 4HE MASTER LIST FOR THE PROJECT WILL ADMINISTRATIVE COSTS SUCH AS LONG
DISTANCE
INCLUDE CONTACT INFORMATION FOR THE ARTISTS PHONE BILLS COPYING AND IMAGE SCANNING OR
AND OTHER PARTICIPANTS TO BE USED FOR DUPLICATION COSTS ¯ AS AGREED UPON IN THE
DISTRIBUTION OF CHEQUES CONTRACT &INAL INVOICES FOR THESE EXPENSES
WITH RECEIPTS SHOULD BE MAILED TO THE GALLERY
)F THE PROJECT IS A GROUP EXHIBITION IT IS USEFUL
"E SURE TO KEEP COPIES FOR YOUR RECORDS
FOR THE CURATOR TO SEND THE GALLERY A SEPARATE
LIST REGARDING FEE PAYMENTS ESPECIALLY IF 4HE CURATOR CAN ASK THE GALLERY FOR
THERE ARE ANY VARIATIONS ON THE ARTISTS´ FEES INFORMATION ABOUT THE ½NANCIAL BALANCE
&OR INSTANCE AN ARTIST MAY HAVE NEGOTIATED A FOR THE PROJECT $ID THE PROJECT REMAIN
DIFFERENT AMOUNT OR ASKED FOR THEIR FEE TO BE ON TARGET OR WERE THERE OVERRUNS /FTEN
WAIVED THIS IS UNUSUAL BUT IT CAN HAPPEN )N FULL DETAILS WILL NOT BE PROVIDED (OWEVER
THE CASE OF A DECEASED ARTIST THE FEE MAY GO SUMMARY ½NANCIAL INFORMATION WILL BE
TO THE ARTIST´S SPOUSE OR ESTATE OR NONE MAY REQUIRED IF THE CURATOR IS RESPONSIBLE FOR
BE REQUIRED .ORMALLY THE GALLERY NEGOTIATES ANY ½NAL REPORTS TO FUNDING AGENCIES )F THIS
ARTIST FEE AMOUNTS HOWEVER THE CURATOR MAY IS AN INDEPENDENT CURATOR
DRIVEN PROJECT
BE ASKED TO COMMUNICATE THIS INFORMATION WHERE THE CURATOR IS FULLY RESPONSIBLE FOR
THE BUDGET AND ½NAL REPORTS A FULL EXPENSE
REPORT FOR THE PROJECT WILL BE ESSENTIAL AS
WELL AS A LIST OF ALL RELEVANT REVENUES
0!'%
7RAP
UP
0ROJECT ASSESSMENT AND ½NAL REPORTING
#OLLECTING MEDIA RESPONSES AND ORGANIZED MEDIA CAMPAIGN OR INADEQUATE
PROMOTIONAL MATERIALS SIGNAGE )F ATTENDANCE WAS MUCH HIGHER
THAN ANTICIPATED WHAT DO YOU THINK THE
4HE CURATOR AND THE ARTISTS SHOULD BE SENT
KEY ATTRACTORS WERE
A COMPLETE PACKAGE OF ALL PRINTED MATERIALS
PRODUCED FOR THE SHOW AND ALL MEDIA REVIEWS 7HAT DID YOU LEARN REGARDING THE CHOICE
'ENERALLY THE PRODUCING GALLERY WILL DO THIS IF OF VENUE FOR THIS EXHIBITION 7AS IT SUITABLE
ASKED BY THE CURATOR FOR THE TYPE OF PROJECT YOU UNDERTOOK
7AS THE PROJECT SELECTED AND ORGANIZED
APPROPRIATELY GIVEN THE VENUE´S SPATIAL
%VALUATION OF THE PROJECT
FACILITIES 7HAT WOULD YOU DO DIFFERENTLY
)T IS USEFUL TO GATHER ALL RESPONSES TO THE IF YOU COULD DO IT OVER AGAIN
PROJECT EG REVIEWS ENTRIES IN GUEST
7ERE YOUR COMMUNICATIONS WITH THE
COMMENT BOOK AND STATISTICS SUCH AS
ARTISTS GALLERYIES AND MEMBERS OF THE
ATTENDANCE ½GURES FOR GENERAL VISITORS TO THE
PUBLIC TIMELY CONSTRUCTIVE AND POSITIVE
GALLERY AND FOR SPECTATORSPARTICIPANTS AT THE
OPENING RECEPTION ALL PUBLIC PROGRAMMING
'RANT REPORTS
EVENTS AND EDUCATION ACTIVITIES EG VISITS
FROM SCHOOL GROUPS 3OMETIMES AN !LL FUNDING AGENCIES THAT GIVE ½NANCIAL
EVALUATION WILL BE UNDERTAKEN JOINTLY BY THE SUPPORT REQUIRE A ½NAL REPORT WITH A BRIEF
GALLERY AND THE CURATOR MORE OFTEN THIS WILL ASSESSMENT OF THE PROJECT AND A ½NAL
BE DONE INDEPENDENTLY ½NANCIAL STATEMENT )F THE PROJECT CONTENTS OR
ACTIVITIES CHANGED FROM THE ORIGINAL PROPOSAL
TO THE FUNDING AGENCY AN EXPLANATION OF THE
3OME OF THE QUESTIONS TO CONSIDER
REASONS FOR THE CHANGE MUST BE PROVIDED
$ID VIEWERS RESPOND POSITIVELY TO THE )F THE PROJECT HAD ½NANCIAL PROBLEMS A
PROJECT )F NOT WHAT WERE THE CRITICISMS LARGE DE½CIT FOR INSTANCE A NOTE ABOUT THE
AND CAN THESE COMMENTS BE CONSTRUCTIVE REASONS FOR THIS WILL BE REQUIRED
IN HELPING TO SHAPE A WAY OF WORKING AS
&OR ALL GRANTS SECURED BY THE CURATOR AS
A CURATOR IN THE FUTURE #RITICISMS ARE
AN INDIVIDUAL OR AS PART OF A COLLECTIVE AS
NOT ALWAYS VALID OR USEFUL AND DO NOT
OPPOSED TO THOSE SUBMITTED ON BEHALF OF
ALWAYS REQUIRE ASSESSMENT BUT THEY
OR BY THE PRODUCING GALLERY THE CURATOR
SHOULD NOT BE DISMISSED AUTOMATICALLY
MUST PREPARE AND SUBMIT A ½NAL REPORT
7AS ATTENDANCE SUITABLE GIVEN THE NATURE 4HERE ARE USUALLY SPECI½C ITEMS OF INFORMATION
OF THE PROJECT AND THE PRODUCING VENUE REQUESTED CHECK THE INITIAL LETTER OF GRANT
)F IT WAS MUCH LOWER THAN EXPECTED WHAT CON½RMATION AND SOMETIMES A ½NAL REPORT
WERE THE CONTRIBUTING FACTORS 7AS THERE FORM IS SUPPLIED AS IT IS WITH THE #ANADA
ANYTHING INHERENT IN THE PRODUCTION OF #OUNCIL 3OMETIMES ALL THAT IS REQUIRED IS A
THE PROJECT THAT CAUSED REDUCED ATTENDANCE BRIEF LETTER REPORTING ON THE PROJECT
SUCH AS AN INSUF½CIENT OR POORLY
0!'%
,EGACIES .OW #URATORIAL 4OOLKIT
"E SURE TO ADDRESS ALL REQUIREMENTS FOR
INFORMATION "E CONCISE AND FOCUS ON THE
POSITIVE ASPECTS OF THE PROJECT WITHOUT
AVOIDING ANY REAL ISSUES THAT MAY HAVE
DEVELOPED 4HE POINT IS TO HAVE UNDERTAKEN
THE PROJECT RESPONSIBLY AND WITH DUE
RESPECT FOR THE ARTISTS AND THE PUBLIC AND TO
HAVE LEARNED FROM THE EXPERIENCE 9OU ARE
NOT ONLY REPORTING ON THIS PARTICULAR PROJECT
9OU ARE DEVELOPING A RELATIONSHIP WITH THIS
FUNDING AGENCY AND YOU WILL WANT IT TO BE A
POSITIVE AND HONEST ONE
&INAL REPORTS FOR GRANTS AND SPONSORSHIPS
FOR WHICH THE GALLERY APPLIED ARE THE
RESPONSIBILITY OF THAT GALLERY
$ISTRIBUTION OF A PUBLICATION
)F A PRINT CATALOGUE OR OTHER MATERIAL WAS
PRODUCED AS DOCUMENTATION OF THE PROJECT
INCLUDE THIS WITH ALL ½NAL REPORTS AS ABOVE
TO FUNDERS AND SPONSORS #OPIES SHOULD BE
SENT TO THE ARTISTS AND OTHER CONTRIBUTORS TO
THE PROJECT 4HE GALLERY WILL DETERMINE HOW
MANY COPIES EACH PARTY WILL RECEIVE AND THEY
SHOULD UNDERTAKE DISTRIBUTION !GAIN BE
SURE THE GALLERY HAS UP
TO
DATE ADDRESSES
FOR THIS TASK
0!'%
%XPANDING THE AUDIENCE EXHIBITION CIRCULATION
%XPANDING THE
AUDIENCE
EXHIBITION CIRCULATION
0!'%
,EGACIES .OW #URATORIAL 4OOLKIT
4OURING AN EXHIBITION TO ADDITIONAL COMMUNITIES HAS
MANY BENE½TS INCLUDING THE DISSEMINATION OF AN
ARTIST´S WORK AND THE PROJECT´S CURATORIAL IDEAS TO A
MUCH BROADER AUDIENCE THE PROMOTION OF AN ARTIST´S
WORK IN A WAY THAT CAN CREATE NEW OPPORTUNITIES FOR
THEM ARTIST´S LECTURES INTRODUCTIONS TO OTHER ARTISTS
AND CURATORS FUTURE EXHIBITIONS COMMISSIONS ETC
AND PROFESSIONAL COLLABORATION AND PRO½LE
BUILDING
FOR THE CIRCULATING GALLERY ! TOUR CAN ALSO PROVIDE A
NATURAL AUDIENCE AND WIDER MARKETING OPPORTUNITIES
FOR THE EXHIBITION CATALOGUE
&OR AN INDEPENDENT CURATOR THERE ARE THREE WAYS TO UNDERTAKE AN EXHIBITION TOUR
4O WORK WITH ONE PRODUCING GALLERY THAT WILL OVERSEE A TOUR
4O WORK WITH TWO OR MORE CO
PRODUCING GALLERIES WHO SHARE COSTS AND TASKS RELATED TO A TOUR
/R TO TOUR A SHOW AS AN INDEPENDENT CURATOR ALONE OR WITH OTHER INDEPENDENT COLLEAGUES
AS A COLLECTIVE OF INDIVIDUALS
&OR THE PURPOSE OF THIS TOOLKIT THE ½RST OPTION IS ASSUMED 4HE OTHER OPTIONS REQUIRE ½NANCIAL
SUPPORT AND ORGANIZATION BEYOND THE SCOPE OF THIS TOOLKIT
)T IS ESSENTIAL THAT THE TERMS BETWEEN PROVIDED BY THE CURATOR )T IS COMMON FOR
THE PRODUCING GALLERY AND THE CURATOR THE CURATOR TO RECEIVE AN INSTALLATION FEE
WITH RESPECT TO THE TOUR ARE CLEAR AND IN FOR INSTALLING THE EXHIBITION ON SITE WITH
WRITING 4HIS MAY INVOLVE A SEPARATE LETTER INSTRUCTIONS PROVIDED IN ADVANCE FOR WORK
OF AGREEMENT OR CONTRACT IF THESE TERMS ARE TO BE DONE PRIOR TO ARRIVAL (OWEVER
NOT PART OF THE CONTRACT FOR CURATING THE SOMETIMES THIS WORK IS COVERED BY THE MAIN
INAUGURAL EXHIBITION &ROM THIS AGREEMENT CURATORIAL FEE FOR THE TOUR
THE CURATOR SHOULD UNDERSTAND THE NATURE
)F THE EXHIBITION TOUR IS DEVELOPED AFTER THE
OF THE CURATORIAL FEE TO BE PAID FOR THE TOUR
INAUGURAL EXHIBITION OPENING ADDITIONAL LOAN
EITHER AS A ¾AT AMOUNT FOR A DESIGNATED
APPROVALS FOR THE TOUR PLANS WILL BE REQUIRED
NUMBER OF VENUES OR AS A FEE PER VENUE
FROM ALL ARTISTS AND LENDERS TO THE PROJECT
4HE CURATOR SHOULD ALSO KNOW WHETHER
SHEHE WILL BE SENT TO INSTALL THE EXHIBITION
AT EACH VENUE 3OME SIMPLE EXHIBITIONS DO
NOT REQUIRE THIS IN WHICH CASE AN INSTALLATION
LAYOUT PLAN AND OTHER INSTRUCTIONS CAN BE
0!'%
%XPANDING THE AUDIENCE EXHIBITION CIRCULATION
%CONOMICS OF A TOUR
)F AN INDEPENDENT CURATOR´S EXHIBITION IS TO BE A TOUR IS CON½RMED )T IS BEST TO INCLUDE
TOURED BY A PUBLIC GALLERY IT IS NOT NORMALLY A CONTINGENCY ½GURE IN THE BUDGET
THE CURATOR´S RESPONSIBILITY TO CALCULATE THE PER CENT IS COMMON TO PROVIDE FOR
PROJECT´S FEASIBILITY (OWEVER THE GALLERY UNANTICIPATED OR ALTERED EXPENSES
MAY ENGAGE THE CURATOR TO HELP STRATEGIZE
/FTEN BORROWING GALLERIES WILL BE
THE SHAPE AND EXTENT OF THE INTENDED TOUR
RESPONSIBLE FOR ALL TRAVEL COSTS FOR THE
)T IS IMPORTANT TO CLARIFY THE PRECISE ROLE OF
ARTIST ANDOR CURATOR AND SOMETIMES
THE CURATOR IN RELATION TO THE TOUR
RELATED
FOR A TECHNICIAN OR REGISTRAR FROM THE
RESPONSIBILITIES )N THE CASE WHERE THE
PRODUCING GALLERY TO ASSIST WITH THE
CURATOR IS RESPONSIBLE FOR THE DEVELOPMENT
UNPACKING CONDITION
REPORTING ANDOR
AND MANAGEMENT OF A TOUR FULL AWARENESS
EXHIBITION INSTALLATION 4HESE COSTS INCLUDE
OF A PROJECT´S BUDGET AND THE STRATEGIES FOR
TRANSPORTATION ACCOMMODATION AND A
ASSEMBLING A VIABLE TOUR ARE ESSENTIAL
STATED PER DIEM AND MAY ALSO INCLUDE
4OUR BUDGETS CAN BE CONCEIVED IN VARIOUS INSTALLATION FEES 3UCH REQUIREMENTS SHOULD
WAYS 3OME WILL BE CONSTRUCTED WITH A ZERO
BE PART OF THE CONTRACTUAL AGREEMENT WITH
BASED BOTTOM LINE ESSENTIALLY NO DE½CIT OR THE BORROWING VENUE
SURPLUS 4HIS MAY OR MAY NOT INCLUDE THE
4HE TOUR BUDGET WILL INCLUDE ARTIST FEES
ORGANIZING GALLERY´S IN
HOUSE LABOUR COSTS
AND CURATOR FEES ;3EE SECTION &EES
FOR WORK DONE ON THE TOUR 3OME GALLERIES
#URATORIAL &EES REGARDING CALCULATING TOUR
REQUIRE THAT ONLY ACTUAL CASH
OUTLAY ±HARD²
FEES FOR THE CURATOR=
PROJECT COSTS NOT RELATED TO ONGOING
OPERATIONAL COSTS SUCH AS SALARIES BE 4OUR REVENUES GENERALLY CONSIST OF
INCLUDED AND COVERED BY PROJECT REVENUES
OR THAT A TOUR HAS TO MAKE A PRO½T IN ORDER %XHIBITION FEES
TO CONTRIBUTE TO THE GENERAL OPERATION OF
#HARGED TO THE VENUE BY THE PRODUCING
THE INSTITUTION !T THE VERY LEAST REVENUES
GALLERY EXHIBITION FEES CAN VARY ENORMOUSLY
SHOULD COVER ALL DIRECT TOUR COSTS 4HE
AND ARE IN¾UENCED BY MANY FACTORS SIZE
BUDGET TEMPLATE IN THIS SECTION INCLUDES
AND COMPLEXITY OF THE EXHIBITION NUMBER
SOLELY PROJECT
SPECI½C COSTS AND A ZERO
OF ARTIST FEES TO BE PAID FRAMING AND OTHER
BASED BOTTOM LINE SEE BELOW
INSTALLATION PREPARATION COSTS EQUIPMENT
PURCHASE CRATING ETC 'ENERALLY THE
0RELIMINARY 4OUR "UDGET EXHIBITION FEE IS INTENDED TO COVER ALL
4OUR EXPENSES ARE OFTEN DIF½CULT TO TOUR COSTS EXCEPT FOR THOSE RELATED TO THE
ANTICIPATE ACCURATELY ONE TO THREE YEARS SHIPMENT OF THE WORK 3OME GALLERIES ALSO
PRIOR TO THE LAUNCH OF A TOUR (OWEVER EXCLUDE PACKINGCRATINGFRAMING ANDOR
SERVICE COMPANIES SHIPPERS FRAMERS CONSERVATION AND CHARGE THESE AS ADDITIONAL
ETC WILL PROVIDE PRELIMINARY ESTIMATES FEES OR AS PART OF A PRO
RATED FEE SEE
AS OPPOSED TO ½NAL QUOTATIONS ON THE FOLLOWING PAGE
UNDERSTANDING THEY WILL BE UPDATED ONCE
0!'%
,EGACIES .OW #URATORIAL 4OOLKIT
3HIPPING FEES 'RANTS
4HERE ARE TWO STANDARD APPROACHES FOR 'RANT FUNDING FOR TOURING AN EXHIBITION MAY
CALCULATING A SHIPPING FEE CHARGED TO THE BE NECESSARY 0OTENTIAL SOURCES FOR TOUR
VENUE FUNDING INCLUDE
3ECURE SHIPPING QUOTATIONS FOR THE "RITISH #OLUMBIA !RTS #OUNCIL 4OURING
ENTIRE TOUR INCLUDING THE RETURN OF THE )NITIATIVES AND SIMILAR PROGRAMS IN OTHER
ART AT THE TOUR´S END AND ADD ESTIMATES #ANADIAN PROVINCES
FOR RELATED COSTS
DIVIDE THIS TOTAL EQUALLY
#ANADIAN (ERITAGE-USEUMS !SSISTANCE
BY THE NUMBER OF VENUES AND YOU HAVE
0ROGRAM -!0 !CCESS TO (ERITAGE
THE SHIPPING FEE 4HIS IS CALLED A PRO
RATED
%XHIBITION #IRCULATION &UND FOR HISTORICAL
SHIPPING FEE
TOURING SHOWS
;
!DDITIONAL COSTS MAY INCLUDE THOSE RELATED TO
INTERNATIONAL BORDERS EG CUSTOMS BROKER FEES #ANADA #OUNCIL 0ROJECT !SSISTANCE
DUTIES AND TAXES AND FUEL SURCHARGES PLUS ANY IF THE GALLERY IS ELIGIBLE THEY CAN APPLY
HUMAN COURIERS THAT MUST ACCOMPANY ARTWORKS AND
OR SECURITY ESCORTS THESE ARE RARE AND ARE USED FOR THE TOURING COMPONENT OF A PROJECT
USUALLY IN THE CASE OF HIGH
VALUE WORKS =
4HE NUMBER OF VENUES ON A TOUR WILL OFTEN
!SK EACH VENUE TO COVER THE COST OF DETERMINE ITS ½NANCIAL VIABILITY 4HE BREAK
OUTGOING SHIPPING )N THIS SCENARIO THE EVEN POINT IS REACHED WITH A MINIMUM
INITIAL SHIPMENT OF ART FROM THE PRODUCING NUMBER OF VENUES ADDITIONAL VENUES WILL
GALLERY TO THE ½RST VENUE IS EITHER GIVE THE BUDGET MORE ¾EXIBILITY MAKING THE
ABSORBED BY THE GALLERY OR INCLUDED IN THE ENDEAVOUR MORE ATTRACTIVE TO THE ORGANIZING
CALCULATIONS FOR THE EXHIBITION FEE CHARGED GALLERY )T IS USEFUL TO SKETCH OUT A BUDGET
TO THE VENUE ALONG WITH THE RELATED COSTS BASED ON ONE TWO THREE AND MORE VENUES
NOTED IN ABOVE PARAGRAPH
4HE DOWNSIDE IN ORDER TO CLEARLY UNDERSTAND THE PROJECT´S
TO THIS APPROACH IS THAT VENUES THAT ARE FEASIBILITY AND TO DETERMINE THE SIZE OF THE
A LONG DISTANCE FROM THE NEXT VENUE ON EXHIBITION FEE TO BE CHARGED TO EACH VENUE
THE TOUR HAVE TO PAY AN INORDINATELY LARGER
SHIPPING FEE THAN OTHER VENUES AND THIS #,)#+ (%2% &/2 ! $/7.,/!$!",% 0$& &/2
CAN BE CONSIDERED UNFAIR ! 3!-0,% -5,4)
6%.5% 4/52 "5$'%4 !.$
&%!3)"),)49 #(!24 /2 3%% 0!'%
4HERE ARE MANY WAYS TO CON½GURE FEES
FOR A TOURING EXHIBITION .OTE THAT SOME
GALLERIES WILL ADD THE SHIPPING FEE TO THE
EXHIBITION FEE TO CHARGE ONE ALL
INCLUSIVE FEE
/THERS MAY CHARGE A PRO
RATED FEE WHICH
INCLUDES ALL DIRECT TOUR RELATED COSTS AND
CHARGE AN EXHIBITION FEE WHICH IS CONSIDERED
TO BE PAYMENT TOWARDS THE INTELLECTUAL
PROPERTY OF THE PROJECT ITS INITIAL RESEARCH
AND DEVELOPMENT ANDOR THE GALLERY´S
CONSIDERABLE LABOUR INVESTMENT
0!'%
%XPANDING THE AUDIENCE EXHIBITION CIRCULATION
4OUR VENUES
4HE PERSON RESPONSIBLE FOR SOLICITING TOUR LIMITATIONS MAY BE IN¾UENCED BY
EXHIBITION BOOKINGS AND ASSEMBLING A STAFF LABOUR AND OTHER PRIORITIES
TOUR THIS WILL BE A PRODUCING GALLERY STAFF
)T IS USEFUL TO PREPARE A LIST OR CHART
MEMBER OR THE CURATOR WILL PREPARE A LIST
OF THESE VENUES WITH A RECORD OF TOUR
OF PREFERRED GALLERIES FOR THE TOUR 4HIS WILL
PROPOSAL DISTRIBUTION DATES AND TO TRACK
BE BASED ON THE AGREED
UPON GEOGRAPHIC
ANY RESPONSE ACTIVITY "E CERTAIN TO RETAIN
REGION FOR THE TOUR AND THE MANDATE SIZE
RECORDS OF THE TERMS UNDER WHICH THE
AND ARCHITECTURAL APPROPRIATENESS OF THE
EXHIBITION WAS OFFERED TO EACH VENUE AS IN
VENUES 4HE PRODUCING GALLERY WILL DETERMINE
SOME CIRCUMSTANCES THESE TERMS MAY VARY
HOW MANY VENUES THEY CAN HANDLE FOR THE
%XHIBITION TOUR PROPOSAL
4HE GALLERY WILL PREPARE TOUR PROPOSALS FOR AVAILABILITY COSTS TO VENUE EXHIBITION FEE
THE SOLICITATION OF VENUES 4HE PROPOSAL WILL SHIPPING FEE REQUIREMENTS TO BRING CURATOR
INCLUDE ANDOR ARTISTS TO GALLERY TO INSTALL SHOW
AND PROVISION OF EQUIPMENT REQUIRED 4HIS
#OVER LETTER SHEET WILL ALSO OUTLINE WHAT THE PRODUCING
GALLERY WILL PROVIDE PROMOTIONAL MATERIALS
4HIS CAN BE TAILORED TO THE VENUE BEING
VISUALS CURATORIAL WALL TEXT LABEL INFO OFTEN
APPROACHED 7HY WOULD THIS EXHIBITION
ON #$ SPECIALIZED EQUIPMENT MOUNTING
BE GOOD FOR THEIR PROGRAM 7HAT IS
SYSTEMS AND INSTALLATION MANUALCONDITION
SPECIAL ABOUT IT 7RITE A LETTER THAT CAN BE
REPORT BINDER
USED FOR ALL PROPOSALS ALLOWING FOR SLIGHT
ADJUSTMENTS ! PERSONALIZED APPROACH CAN
"IOGRAPHICAL INFORMATION ON
BE EFFECTIVE 4HE LETTER MUST BE ADDRESSED
ARTISTS AND CURATOR
TO THE SPECI½C PERSON WHO SHOULD RECEIVE IT
THE DIRECTOR OR CURATOR !VOID ±4O WHOM
+EY REVIEWS OF ARTIST´S WORK
IT MAY CONCERN² LETTERS
OPTIONAL
0ROJECT DESCRIPTION
6ISUAL MATERIALS
4HIS SHOULD BE NO LONGER THAN ONE PAGE
4HESE COULD INCLUDE SLIDES OR A #$ OF DIGITAL
IF POSSIBLE
IMAGES OR COLOUR LASER PRINTS .OTE MULTIPLE
COPIES OF VISUALS WILL NEED TO BE PREPARED
4OUR FACTSHEET
)NCLUDE BASIC FACTS SUCH AS SIZE OF THE #,)#+ (%2% &/2 ! $/7.,/!$!",% 0$& &/2
EXHIBITION NUMBER OF WORKS DIMENSIONS ! 3!-0,% 4/52 &!#4 3(%%4 /2 3%% 0!'%
OF WORKS SPACE REQUIREMENTS DATE
0!'%
,EGACIES .OW #URATORIAL 4OOLKIT
)TINERARY PLANNING AND CON½RMATION
)DEALLY A TOUR SCHEDULE WILL MAKE SENSE !S BOOKINGS ARE CON½RMED A TOUR ITINERARY
GEOGRAPHICALLY MOVING ACROSS A REGION OR DOCUMENT SHOULD BE PREPARED AND ORGANIZED
ACROSS #ANADA ANDOR ELSEWHERE IN A CHRONOLOGICALLY ACCORDING TO REQUESTED
MANNER THAT AVOIDS CRISS
CROSSING 4HIS WILL EXHIBITION DATES )DENTIFY GAPS IN THE
ECONOMIZE ON SHIPPING COSTS (OWEVER SCHEDULE AND AS NEW PROPOSALS ARE SENT OUT
GALLERIES MAY NOT HAVE A LOT OF ¾EXIBILITY UPDATE THE SPECS SHEET TO INCLUDE CON½RMED
WITH SCHEDULING AND THEREFORE TOURS CANNOT VENUES AND HIGHLIGHT AVAILABLE BOOKING DATES
ALWAYS BE GEOGRAPHICALLY LOGICAL 3END THIS AS AN UPDATE TO VENUES THAT ARE
CONSIDERING THE EXHIBITION PROPOSAL
)N BETWEEN BOOKINGS ALLOW FOR PLENTY OF
TIME FOR SHIPPING AS WELL AS DE
INSTALLATION !DVISE ALL VENUES OF THE TOUR SCHEDULE ONCE
AND CRATING AT THE CLOSING VENUE AND THERE ARE SUF½CIENT BOOKINGS TO PROCEED
INSTALLATION AT THE FORTHCOMING VENUE !LLOW WITH THE TOUR !DDITIONAL BOOKINGS CAN BE
FOR UNEXPECTED DELAYS 'ENERALLY YOU WILL ADDED OVER TIME OR NOT DEPENDING ON THE
NEED A MINIMUM OF TWO TO THREE WEEKS DECISION MADE ABOUT THE SIZE AND DURATION
4HE SIZE AND COMPLEXITY OF THE SHOW WILL OF THE TOUR
ALSO AFFECT THIS DECISION +EEP IN MIND THAT
6ENUES ARE TO RECEIVE AN EXHIBITION RENTAL
GALLERIES SOMETIMES CANNOT STORE CRATED
AGREEMENT FROM THE ORGANIZING GALLERY
WORKS FOR LONG
5SUALLY A FORMAL CONTRACT THIS WILL OUTLINE
%DUCATIONAL INSTITUTION GALLERIES AT A AREAS OF RESPONSIBILITY FOR THE TOURING
UNIVERSITY FOR EXAMPLE WILL OFTEN WANT ORGANIZATION AND THE BORROWING VENUE
EXHIBITION BOOKINGS FOR THE SCHOOL SEMESTER INCLUDING TERMS REGARDING FEES TO BE CHARGED
PERIOD UNLESS THE EXHIBITION IS MORE SUITED AND OTHER COST
RELATED ITEMS
TO A SUMMER TOURIST SEASON
'ERMAINE +OH /VER¾OW #ENTRE !
6ANCOUVER
0!'%
%XPANDING THE AUDIENCE EXHIBITION CIRCULATION
4HE CURATOR´S
RESPONSIBILITIES FOR A TOUR
!SSUMING THAT THE PRODUCING GALLERY IS #URATORIAL TRAVEL SCHEDULE IF APPROPRIATE
RESPONSIBLE FOR THE TOUR COORDINATION
0UBLIC PROGRAMMING IN RELATION TO THE
THE CURATOR IS USUALLY RESPONSIBLE FOR THE
SHOW CURATOR´S TALK ARTIST´S TALKS ETC
FOLLOWING FOR EACH VENUE ON THE TOUR
%ACH VENUE WILL DETERMINE THE EXTENT
0ROVISION OF A BASIC TEXT FOR THE NEWSLETTER OF THEIR PUBLIC PROGRAM IF ANY AND WILL
MEDIA RELEASE INTRODUCTORY WALL PANEL ETC USUALLY CONSULT WITH THE CURATOR AND MAKE
%ACH VENUE MAY HAVE SPECI½C REQUIREMENTS APPROPRIATE ARRANGEMENTS WITH EACH
AND MAY REQUEST THAT THE CURATOR EDIT OR PARTICIPANT
REVISE THE TEXT AS APPROPRIATE FOR THEIR $ISTRIBUTION BY THE BORROWING VENUE
NEEDS EG FOR A SMALLER NEWSLETTER SPACE TO THE ARTISTS AND OTHER PARTICIPANTS
ETC )T IS IN THE CURATOR´S BEST INTEREST TO INCLUDING THE CURATOR OF PRINTED
PARTICIPATE IN SUCH EDITING TO MAINTAIN THE PROMOTIONAL MATERIALS AND PUBLICATIONS
INTEGRITY OF THE EXHIBITION´S INTERPRETATION FOR THE SHOW 3OMETIMES THIS MATERIAL
#OMMUNICATIONS WITH THE BORROWING WILL BE SENT ONLY TO THE PRODUCING GALLERY
VENUE´S CURATOR OR OTHER DESIGNATED STAFF ANDOR THE CURATOR FOR DISTRIBUTION
PERSON REGARDING THE FOLLOWING #OMMUNICATIONS WITH THE PRODUCING
)NSTALLATION OF THE EXHIBITION IN THE GALLERY´S STAFF TO KEEP THEM INFORMED OF
SELECTED GALLERY SPACE 4HIS WILL THE PROGRESS OF EACH TOUR BOOKING AND
INCLUDE OVERSEEING INSTRUCTIONS ANY DECISIONS THAT AFFECT THE OVERALL TOUR
REGARDING REQUIRED EQUIPMENT WALL OR
ROOM CONSTRUCTION PAINT COLOURS ETC
AND A PRELIMINARY INSTALLATION PLAN
0!'%
Tour Budget and Feasibility Chart
[Title of Exhibition]
[circulating gallery]
[estimated tour dates]
This tour budget is for a solo exhibition organized by a guest curator. Dollar figures represent a
modestly budgeted project and are simple, in order to facilitate easy calculation. The chart
illustrates how financial feasibility generally improves as more venues join the tour. The break-
even point is clearly identified.
Note that the budget here does not provide for in-house labour costs for the circulating gallery.
Some galleries prefer to include these, especially if contract staff must be hired to temporarily
replace the gallery staff working on the tour (such as a registrar or conservator). Some galleries
ensure that all costs for a tour are covered by pro-rated charges; in this case the exhibition fee
charged to venues is additional, representing a profit that can support general gallery operations
or future exhibition projects.
EXPENSES: 1 tour venue 2 venues 3 4
Fees:
Guest curatorial fees ($500 per venue) 500 1,000 1,500 2,000
Artist’s fee ($1,000 per venue) 1,000 2,000 3,000 4,000
Preparation/shipping costs:
Framing 2,300 2,300 2,300 2,300
Crating 1,000 1,000 1,000 1,000
Shipping (includes dispersal at end) 1,000 1,500 2,000 2,500
Didactics 200 300 400 200
Promotion/outreach:
Copying/postage (Gallery) 400 400 500 500
Documentation/promotional materials 100 150 200 250
Other
Couriers 100 150 200 250
Insurance 400 500 600 700
Phone/fax/Internet (Gallery) 50 100 150 200
Phone/fax/Internet (guest curator) 50 100 150 200
Copying/postage (guest curator) 100 200 300 400
Contingency 200 400 600 800
TOTALS FOR TOUR: 7,400 10,100 12,900 15,200
REVENUES:
Exhibition fees from venues 3,500 7,000 10,500 14,000
Shipping fees from venues 1,000 2,000 3,000 4,000
TOTALS 4,500 9,000 13,500 18,000
0!'%
[Logo of Gallery]
TOUR FACT SHEET
[Exhibition Title]
[Name], Curator
Organized and circulated by [Name of gallery]
Number of works: [For example: 100 framed photographs, colour and black and white; two
video works]
Required space: [#] running feet/metres [and/or square footage]
Availability: [Period of tour; may also include current list of confirmed and/or pending
bookings, or a list of booking periods available, e.g. January-March,
2008 or spring 2008, etc.]
Costs for the Borrower:
• Exhibition fee: [$___] for [#]-week bookings [e.g. 8-12-week bookings]
• Shipping fee or pro-rated fee: [Variable: pro-rated amount to be determined or flat rate pre-
determined, or only outgoing shipping cost, etc. Note: this fee often includes other costs
related to shipping such as packing/crating, conservation costs and loan fees related to the
tour, in-transit security requirements, brokerage fees, etc. The fee amount may or may not be
stated on this sheet; alternatively the fee can be estimated or provided as a maximum for this
purpose]
• Equipment as needed [i.e. for video monitor or projection installation, etc.]
• Insurance [may include insurance for the exhibition while on the premises and for incoming
and/or outgoing shipping; or there may be a pro-rated insurance fee charged by the
circulating gallery]
• Installation costs
• Marketing and promotions
• Public programming for the exhibition: [all travel and participation fees for events with artist(s)
and other participants]
• May include: Costs for the curator to be present for installation and opening events; lecture
fee for curator. [State minimum # of days required; minimum per diem rate, etc.]
• May include: Costs for artist(s) to be present for installation and/or opening events; artist talk
fee. [State minimum # of days required; minimum per diem rate, etc.]
• May include: Travel costs/accommodation costs for organizing gallery’s registrar and/or
lender couriers to be present for opening of crates and installation, and possibly
de-installation. [State minimum # of days required; minimum per diem rate, etc.]
The organizer will provide:
• Exhibition labels and wall text content on disc
• Text copy for media release and other promotional uses
• Shipping arrangements
• May provide: In-transit insurance or complete insurance coverage
• May include: Curator and/or artist and/or registrar travel for installation and opening events
• May include:
Posters for promotional distribution locally
Brochure for promotional use and distribution within the exhibition galleries
[#] copies of the catalogue; additional copies for re-sale at wholesale rate to venue
Public programming consultation
Contact Information: [staff person name/ producing gallery/ email address/ telephone number].
0!'%
,EGACIES .OW #URATORIAL 4OOLKIT
*ERRY 0ETHICK 4IME 4OP 0ROJECT
PERMANENT PUBLIC ART WORK 6ANCOUVER
0HOTO -AUREEN 3MITH $ETAIL
0!'%
0UBLICATION
0UBLICATION
0!'%
,EGACIES .OW #URATORIAL 4OOLKIT
4HE PRODUCTION OF A CATALOGUE OR LARGER BOOK
DOCUMENTING A PROJECT IS A COMPLEX IMPORTANT
UNDERTAKING 3UCH A PUBLICATION MAY BE PRODUCED IN
PRINT OR ELECTRONIC FORM AND SHOULD BE CONCEIVED AS
A RECORD OF THE ARTISTS AND THE CURATOR´S PRODUCTION
THAT WILL BE REFERENCED FOR YEARS TO COME
4HE ROLE OF THE CURATOR IN THE PRODUCTION #ONCEPT DEVELOPMENT FORM OF PUBLICATION
OF A PUBLICATION WILL VARY ENORMOUSLY PRINT #$ OR OTHER PREFERRED CONTENTS
3OMETIMES SHEHE WILL BE FULLY RESPONSIBLE NUMBER AND TYPES OF TEXTS OTHER WRITTEN
FOR COMPILING ALL MATERIALS WORKING WITH THE MATERIALS NUMBER AND TYPES OF VISUALS
DESIGNER AND OVERSEEING THE PRODUCTION ¯ SIZE NUMBER AND SIZE OF PAGES AND
WITH CONSULTATION AND ½NAL APPROVAL BY THE GENERAL ³LOOK´ THAT IS APPROPRIATE FOR THE
PRODUCING GALLERY /THER TIMES THE CURATOR PROJECT
WILL SUPPLY A ½NAL ESSAY FOR PUBLICATION AND !SSESSMENT OF FUNDRAISING POTENTIAL
OFTEN DIGITAL IMAGES WITH SOME ³BACK MATTER´ GRANT DEADLINES ETC AND DIRECT
EXHIBITION LIST CAPTION LIST FOR IMAGES CONTRIBUTION FROM THE PRODUCING GALLERY
BIOS AND ALL SUBSEQUENT PRODUCTION IS THE
0REPARATION OF A PRODUCTION TIMELINE
RESPONSIBILITY OF THE GALLERY WITH THE DESIGNER
"UDGETING INCLUDING REQUESTING PRINT
4HE CURATOR AND THE ARTISTS ARE THE BEST
AND DESIGN QUOTATIONS
POSSIBLE AMBASSADORS FOR THE PUBLICATION
2ESEARCHING AND COMMISSIONING OF TEXTS
AND THE GALLERY THAT PRODUCED IT AND
FROM WRITERS
THEREFORE SHOULD RECEIVE AS MANY COPIES
AS POSSIBLE %ACH GALLERY WILL HAVE ITS OWN #OMMISSIONING OF PHOTOGRAPHERS
POLICY IN THIS REGARD )F THE NUMBER OF COPIES FOR DOCUMENTATION OF ARTWORKS TO BE
BEING SUPPLIED IS VERY LOW AND THE CURATOR REPRODUCED IN THE PUBLICATION
HAS DISTRIBUTION INTENTIONS THAT WILL BENE½T !SSEMBLING ALL OTHER VISUALS FOR
THE GALLERY IE TO INTERNATIONAL OR OTHER REPRODUCTIONS USUALLY FROM THE ARTISTS
CONTACTS IT MAKES SENSE FOR THE CURATOR DEALERS OR LENDING INSTITUTIONS
TO ASK THE GALLERY IF THEY WILL PROVIDE MORE 7RITING CURATORIAL ESSAYS
COPIES GRATIS 5SUALLY IN ADDITION TO THE
FREE COPIES SUPPLIED TO THE CURATOR AND THE #OLLECTING AND EDITING ALL WRITTEN
ARTISTS THE GALLERY WILL OFFER THE OPTION OF MATERIALS
ADDITIONAL COPIES AT A DISCOUNTED PRICE #OMMISSIONING A DESIGNER AND WORKING
WITH HERHIM TOWARDS THE ½NAL PRODUCT
4HIS CURATORIAL TOOLKIT DOES NOT ELABORATE
ON THE TASKS REQUIRED FOR PRODUCING A 3ECURING ½NAL APPROVALS FROM THE GALLERY
PUBLICATION (OWEVER THE KEY AREAS OF WORK FOR ALL MATERIALS AND DESIGNS
REQUIRED FOR PUBLISHING ARE
0!'%
0UBLICATION
0ROOFREADING THE ENTIRE DOCUMENT IN %NSURING THAT ALL PARTICIPANTS ARE SENT
DESIGNED PRE
PRODUCTION FORM USUALLY AN APPROPRIATE NUMBER OF COPIES OF THE
MORE THAN ONCE TO BE FOLLOWED BY PUBLICATION DISTRIBUTION IS UNDERTAKEN
APPROVAL OF PRESS SHEETS AT THE PRINTERS BY THE PRODUCING GALLERY
DURING THE DAYS OF THE PRINT RUN THIS $ISTRIBUTION OF THE PUBLICATION LOCALLY
IS USUALLY HANDLED BY THE DESIGNER OR NATIONALLY INTERNATIONALLY DEPENDING ON
SOMETIMES THE PRIMARY PHOTOGRAPHER GALLERY CONTACTS POLICIES AND RESOURCES
IF THEY ARE EXPERIENCED IN PRESS AND THE CURATOR´S CONTACTS 4HIS MAY
PROO½NG SOMETIMES IN CONSULTATION INCLUDE A BOOK DISTRIBUTOR WHO WOULD BE
WITH THE CURATOR RESPONSIBLE FOR GETTING THE PUBLICATION
INTO BOOK STORES REGIONALLY NATIONALLY
ANDOR INTERNATIONALLY
+AREN ,OVE WORKS AS -ANAGER OF
#URATORIAL !FFAIRS AT THE 6ANCOUVER
!RT 'ALLERY 3HE WAS $IRECTOR
#URATOR OF 0RESENTATION (OUSE
'ALLERY FROM
A FULL TIME
INDEPENDENT CURATOR AND WRITER FROM
TO AND SHE CONTINUES
TO PRODUCE INDEPENDENT PROJECTS
! RESIDENT OF 6ANCOUVER ,OVE IS A
MEMBER OF $ORYPHORE )NDEPENDENT
#URATORS 3OCIETY AND WAS A
FOUNDING MEMBER OF #!").%4
)NTERDISCIPLINARY #OLLABORATIONS
!#+./7,%$'-%.43
4HE AUTHOR WISHES TO EXTEND HER GRATITUDE TO THE ,EGACIES .OW TEAM THE #ANADA
#OUNCIL FOR THE !RTS AND THE INDIVIDUALS LISTED BELOW WHO ASSISTED WITH THE DEVELOPMENT
OF THIS DOCUMENT´S CONTENT AND LANGUAGE
0RIMARY EDITORIAL ASSISTANCE +AREN (ENRY
!DDITIONAL CONSULTATIONS 2ENEE "AERT ,IZ "RUCHET 3ADIRA 2ODRIGUES *ORDAN 3TROM AND
+EITH 7ALLACE
0!'%
AND "EYOND
7%34 0%.$%2 342%%4 6!.#/56%2 "2)4)3( #/,5-")! 6% - 777,%'!#)%3./7#/-
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