VAI Guideline on Payment for Visual Artists: Open Calls, Festivals & Events

There is growing concern amongst VAI members about organisations using open calls as a means to avoid paying artists fairly. While open calls are often presented as opportunities for exposure and professional growth, some organisers use them to acquire content, ideas, or labour without providing appropriate compensation. This practice undermines the value of artists’ work, disrespects the traditional role that open calls have had and which people have benefited from, and can contribute to the broader devaluation of art as a profession.

One of the primary ways organisers avoid paying artists is by framing open calls as competitions or opportunities where the primary reward is visibility and potential sales rather than financial remuneration. While exposure can be beneficial, it does not pay bills or support the artist’s livelihood. These open calls often require artists to pay submission fees, which further shifts the financial burden onto the artists, making them effectively pay for the chance to work. This model exploits the aspirations of artists, who may feel pressured to participate in the hope of future recognition or opportunities.

Is there an Opportunity?

When assessing whether a visual arts open call is worth pursuing, several critical factors should be considered to ensure the opportunity aligns with your artistic and professional goals. These factors include the age of the institution hosting the open call, the likelihood of making sales, the transparency of financial reporting, the reputation of the curator or selection panel (including their proven commitment to the payment of artists), and whether the selection of work is genuinely based on quality.

Experience Levels & Reputation

The age of the institution is a key indicator of its reputation and stability. Older institutions often have a long-established history, which can lend credibility to their open calls. Their longevity suggests that they have successfully managed exhibitions and artists over time, which can be reassuring for an artist looking to submit their work. An established institution is likely to have a well-developed network of collectors, critics, and patrons, increasing the exposure and potential success of participating artists.

Likelihood of Sales

The likelihood of sales is another crucial consideration. Open calls that promise high and proven likelihood of sales opportunities are often more attractive to artists looking to monetise their work. To evaluate this, consider the institution’s previous exhibitions and their success in terms of sales. Institutions that regularly sell works during exhibitions or have connections with active collectors can significantly boost your chances of making sales. Additionally, understanding the demographics of the audience that the institution attracts can give insight into whether your work is likely to resonate with potential buyers. In contrast, if the institution is primarily focused on conceptual or experimental art, the likelihood of immediate sales may be lower, although the opportunity for critical recognition might be higher. Do not take their word for it, check their previous results; looking at the proportion of works sold in past exhibitions.

Financial Reporting

Transparency in financial reporting is vital in determining whether an open call is trustworthy and worthwhile. Institutions that provide clear and detailed information about how submission fees are used, how profits from sales are distributed, and the overall financial health of the organisation are more likely to be operating with integrity. Transparent reporting also suggests that the institution values its relationship with artists and is committed to fair practices. An institution that openly shares its financial results, including the breakdown of costs and revenues from previous open calls, demonstrates a level of professionalism and accountability that should not be overlooked.

Selection of Work

Lastly, the selection of work based on quality rather than other factors, such as the artist’s notoriety or commercial appeal, is crucial for artists seeking to establish or enhance their reputations. A credible open call should have a clear selection process that prioritises the artistic quality and originality of the work. Investigate whether the institution has a jury or panel of experts involved in the selection process. The background and expertise of these jurors can provide insights into how seriously the institution takes the quality of submissions. If possible, review the portfolios of previously selected artists to gauge whether the institution genuinely values high-quality work or if it tends to favour more commercial or trendy pieces.

RHA, RUA Annuals

In the case of the RHA and the RUA, the annual open exhibitions are a key part of the visual arts season, and with the transparency of selection, high level of sales, and reporting of the outcome of their exhibitions, it is clear that they are a clear example of the above. We leave it to artists to make mature and informed decisions as to whether or not these are worthwhile opportunities for their particular area of practice.

Amateur v. Professional

It can be said that, although all artists must be paid, a two tier system exists; wherein amateur artists are not seen as deserving or expectant of payment. This has created circumstances where no artist is being paid because amateur artists are included in the Open Calls. We believe that all artists must be paid, and if a case is being made that amateur artists should be excluded, then Open Calls and Festivals & Events must develop a system that recognises that professionals that they work with must be paid, even when exhibiting in the same exhibitions as amateur artists. The pressure of going to the lowest denominator of nobody being paid is not acceptable.

In deciding if VAI will advertise a Paid Open Call, we take the above into consideration. Many organisations and charities that approach us to advertise their “call for artists” are very unhappy that we choose to not advertise their “opportunity” but, we make it very clear that we place the artist first, and the very few exceptions that we make are based on the above assessment.