Artists – most of you who take your first public art commission lose money on it. Not because the budget was bad, but because nobody told you a public commission is not a bigger version of a private one. It is a different job, with a different shape, and the work that does not appear in the brief – procurement, contracts, maintenance, stakeholder hours – is what quietly eats your fee.
By the time you realise what you have signed up for, you are eighteen months in, with years still to run, and no honest way out.
Here is what I want to give you today: the six things that genuinely change when you step from a private commission into a public one; the hidden costs inside the budget that almost no commissioner spells out, and that you have to know to ask about; and the support structure you need around you before you accept the commission, not after, because by then it is too late.
This is for artists invited to apply for their first public commission, and for artists already inside one who can feel the ground shifting and have not yet been able to name what is happening.
This episode is part eight of a nine-part series on commissions. Last week we covered what public art is, the five reasons it gets commissioned, and the six roles an artist might play inside a public commission. If you have not heard that one, it sets the foundation for today, so start here - https://podcasts.apple.com/gb/podcast/the-six-roles-artists-get-hired-for-in-public-art/id1709105337?i=1000776044291
KEY TAKEAWAYS
Public art is not just a bigger version of what you already do – it is a different job, with different time scales, different power dynamics, and a different kind of authorship you step into for decades, not months.
The number in the brief is never just “your fee” – it has to cover engineers, fabricators, insurance, installation, maintenance planning, everyone’s professional time. If it does not, you will be the one underwriting the project with your labour.
Build a small, smart infrastructure around yourself, so you can hold the integrity of the work through years of stakeholders, contracts, and weather, without burning out.
BEST MOMENTS
“Read the brief, do what the brief asks, no more, no less.”
“Public commission budgets sound large and often aren't by the time you have to account for everything they have to cover.”
“You'll need public liability insurance, often at significant levels of cover.”
EPISODE RESOURCES
Episode 7 of commission series – https://podcasts.apple.com/gb/podcast/the-six-roles-artists-get-hired-for-in-public-art/id1709105337?i=1000776044291
HOST BIO
With over 35 years in the art world, Ceri has worked closely with leading artists and arts professionals, managed public and private galleries and charities, and curated more than 250 exhibitions and events. She has sold artworks to major museums and private collectors and commissioned thousands of works across diverse media, from renowned artists such as John Akomfrah, Pipilotti Rist, Rafael Lozano-Hemmer and Vito Acconci. Now, she wants to share her extensive knowledge with you, so you can excel and achieve your goals.
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This Podcast has been brought to you by Disruptive Media. https://disruptivemedia.co.uk/
