AboutThe ConditionsGlossary
Home
01
Acquisition Practices
02
Agreements & Contracts
03
Archival Practices
04
Audience
05
Disability & Access
06
Diversity, Equity & Cultural Guidelines
07
Documentation
08
Establishing Relationships
09
Fees, Wages & Budgets
10
Grants & Funding
11
Media & Communication
12
Security, Risk & Insurance
13
Transmission, Activation & Touring
14
Working With Performers
15
Working on Site

This Index is displayed in Alphabetic order

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Establishing Relationships

Establishing and maintaining relationships between the artist and museum teams is critical. We have used “curator” here as the primary contact, but this may also be a producer, public programmer, exhibition manager or director, etc. All parties have agency and responsibility when working together.

Overview

Artists may develop work independently, often prior to an invitation from a museum. Curators may also develop exhibitions or programs that include existing choreographic work, or they may commission new choreographic work. A development period may follow on from initial conversations and studio visits between artists and curators, with varying levels of responsibility between the artist and the museum. These discussions help articulate the relationships and responsibilities that may inform an agreement for a presentation, commission or acquisition.

Things To Consider

Why?

  • Is the museum an appropriate situation in which to present this work, considering the required responsibilities to the work and museum priorities, capacities and audiences?
  • Has there been a discussion about the most appropriate place for the work within the museum’s program and how the work is being described? Eg exhibitions, collections, public programs, special events, festivals/biennales.

What?

  • What is the work? How is it best described? What is the format, timeframe, duration?
  • What is the invitation from the museum? Eg. commission of new work, presentation of an existing work, workshop, or artistic response to an exhibition.
  • Are the programming context, budget and parameters clear to all parties?
  • Is it helpful to discuss co-commissioning and touring or presentation options that vary in scope and budget?
  • Is the scale of the project in line with the available resources, or might it be appropriate for the project to be adjusted in scale and ambition?
  • If the plan is to partially fund the work, can the museum remunerate the artist for their labour/time to secure further funding?

Who?

How?

  • What resources are available to support the work whether it is a new work or a subsequent presentation? Eg. rehearsal space, rehearsal wages, producing, technical support, design resources, communication team, onsite fabrication or refabrication etc.
  • Is it clear to the museum how the artist team is structured and where the points of contact with the museum are?
  • Is the artist self-producing? Is their time managing the project factored into the arrangements in terms of timeline and remuneration?
  • Has it been identified how the artist team would like to engage with other museum professionals and how can these museum teams support the work? Eg. archivists and conservators, education team, security staff.
  • Have there been discussions about how everyone is paid, contracted, insured, documented and credited early in the process? How is the artistic team credited?
  • Is there adequate time between the invitation and presentation?
  • How do the artist and curator plan to work together? Is there scope and desire for curatorial input and exchange during the artist’s development of the work?
  • How can the artist and curator share information about the work? Would sharing the work in progress via an open rehearsal for feedback be desirable and beneficial?

The Future?

  • Have all parties discussed archiving, presentation, acquisition and touring?
  • Is this an opportunity to support / sustain an ongoing relationship between an artist and a specific museum or curator?
  • If the museum is commissioning the work, what will the acknowledgement line be in the artwork caption in the future?
Acknowledgement of Country
This research project is grounded on the Country of the Eora, Kulin, Ngunnawal and Noongar nations. We would like to acknowledge the Ancestors and Custodians of these places who have cared for the land and engaged in cultural practice on Country since time immemorial. We recognise our privileged position as individuals living and working on stolen, unceded Indigenous land. We thank all of the First Peoples and Indigenous collaborators who have enriched our work and research by generously gifting their knowledges and practices to this project.
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