Claudia, you’re instigating a new programme called the Artist Advice Bureau through Arts Makers Aotearoa. What is this?

Initially this idea came from the way a lot of us artists have learned to navigate the art world and its challenges—through calling up an ‘Art Aunty’, and asking for advice from our peers and those that have cut the path before us, tuakana to teina. We learn from each other’s experiences, both bad and good. It’s important to acknowledge how key intergenerational knowledge is in supporting creative pathways and the development of an artist’s career; I know it has been crucial for me and still is. But not everyone has a network they can turn to. Artistic practice can be isolating, which feels even more pertinent in the current cost-of-living crisis. Financial pressures are meaning fewer creatives can afford the cost of studio spaces with other artists and are having to work more outside of the arts, providing less time and opportunity for supportive communal art relationships.

The Artist Advice Bureau (AAB) will provide a free, low-buy-in model for artists to seek advice or advocacy. From the nuts and bolts of professional practice to issues that have arisen for them in navigating the arts industry, it’s a confidential and safe space for artists to talk through issues of any size or scope, get resourcing advice, links to services, and follow-up if further research or reaching out needs to happen to provide thorough advice.

Arts Makers Aotearoa is really founded in the idea of strengthening collectivisation and resourcing artists to be better equipped to advocate for themselves, so a programme like this really fits with the ethos of our organisation. Similarly with our host venue, Samoa House Library, it’s a natural fit, as they have created a welcoming and inclusive space that already resources and supports artists. It’s a hub where younger and emerging artists gravitate in Tāmaki Makaurau. Through Zoom, the programme will be open to all artists across the motu and in the future I would like to look at visiting or collaborating with other arts hubs for pop-ups to increase access.

So you’re like a Citizens Advice Bureau for artists who want to better understand things like taxes, contracts and professional networks. Maybe we can give some more specific examples.

Artist A has just received their first commission for a high-profile public sculpture exhibition. The curator keeps encouraging them to be ambitious, but the budget only really covers material costs. Artist A has figured out a way to fabricate the work cheaply, but they’re worried this won’t stand up well to weather and other outside conditions. Artist A wants to make the most of the opportunity, but they don’t want their work to look sloppy if it deteriorates during the exhibition. What can they do?

This is not an unusual situation, unfortunately—opportunity and ambition not aligning with budget. I would first encourage the artist to engage the curator in a conversation about artist fees and refer to our Artist Fee Guidelines table. Hopefully there could be a broader conversation about remuneration and getting this person paid! Then I would like to see how they are breaking down this production budget and what the exhibiting space or organisation is covering—installation, freight, artist travel, insurance (public liability is an important conversation, particularly with larger sculptures and public spaces). I’d like to see that contract that they are engaging with, and the clauses around further costs and expectations of the artist. Thirdly, has the artist been given a timeframe and support from the people behind the exhibition to possibly apply for some funding to assist in the development and delivery of this work? This could be a pathway to get the artist paid and deliver on the project to the level that the artist wants to. 

Finally, I would point them to creatives in the industry with the knowledge to offer sound advice around the technicalities of the materials they want to install—for example, Nate Savill at ObjektCare, who specialises in sculpture services: installation, repair, restoration, maintenance and cleaning. He has a wealth of knowledge and experience, plus he is a really lovely person!

Artist B participated in a group show at a dealer gallery last October. The dealer gave some helpful conceptual feedback and supported the work’s fabrication, but it didn’t sell, and they’ve been a bit quiet since. At openings they say that they’ve been meaning to get in touch to come by the studio, but the calendar invite never comes.

In March, Artist B wins a nationally significant prize—the dealer suddenly rematerialises, but so do several others. It’s all a bit overwhelming. Artist B wants to play the field, but what if the hype suddenly dies down? Do they owe anything to the dealer they exhibited with earlier? What should they even be looking for in a dealer?

This is tricky and sounds like a bit of a pressure-cooker scenario. Step one: I would ask for the paperwork first—either a contract or Artist Agreement from each of the galleries. It’s important to have all the information in front of you when making a decision: what each gallery’s expectations are of a represented artist, their commission rates, what they cover financially, what reach they have over other showing opportunities, exit clauses, etc. That way you can see what is and isn’t being offered by each dealer. 

Step two: I would look at their stable of artists and the sort of exhibitions they have presented—do you feel an affinity with the work and artistic direction the gallery is taking? This is really important, as you will be working with the artists and your work will be presented alongside theirs, under the creative direction of the gallerist. That’s not to say that you need to feel that with all the artists; rather, you want to feel some connection or interest in the sort of work and exhibitions that are presented in the gallery. 

Step three: I would put some feelers out and ask some of the artists that have worked with the galleries how they have found working with that dealer. From my experience, having a casual conversation with people who have worked with that dealer before is very telling. If they have a high turnover of artists, that generally isn’t a good sign, and pissed-off artists who haven’t been paid don’t tend to keep quiet. There’s a lot to be said for trusting your gut when it comes to these things. Have some conversations with the dealers—do you leave feeling positive and excited about future possibilities? Are they genuinely interested in your work, or just in the hype and potential sales? The best dealer relationships are built on mutual respect and trust, where you both work together. If you are hesitant about timing, it’s ok to take some time. The ones that are really interested will stick around. But in saying that, don’t be rude and ghost people entirely! Dealers get turned off quickly when starting relationships with artists if they are difficult. If the timing isn’t right, communicate that you appreciate their interest but are taking some more time to focus on showing outside of the commercial space. Better to leave the door open in case things change, than to slam it shut.

Artist C has a huge tax bill. Help!

Ah, this one—we’ve all been there.

Firstly, I would deal with the problem at hand and contact the IRD about setting up a payment plan, if it’s not feasible for you to pay it all at once. It’s better to do this with them than to be pursued by them. They can help you set a payment plan that is within your means, and this way you won’t be getting any flags against your name at the IRD. My accountant has always told me that you don’t want to get noticed by the IRD. I would also advise contacting the IRD to make sure you are paying the correct amount of tax, particularly if you are earning from multiple income streams under different taxation structures, like if you are employed and also earning as a sole trader, as an artist. 

Secondly, I would do some future-proofing to avoid the nasty surprise again. How are your taxes being done? Is it time to get some support either through an accountant that is artist/creative friendly, or through engaging a service such as Hnry. This can alleviate a lot of stress immediately and help with forward planning around any tax, GST or student loan repayments. Do you have a separate account for all your art-related payments or costs? Do you have a separate account where you are putting aside money for tax so you don’t spend it? 

There are different resources out there for helping with financial literacy for sole traders, such as the sole trader checklist at business.govt, IRD’s self-employed resources online, or the Wayfind Creative – Self Employment programme run at the Depot. It’s not a particularly fun exercise, but having better methodology to work with paying and planning for tax really reduces the stress and fear around it—it did for me.