Calling bullshit on working for free

By Elsa McGrath

EVER SINCE I CAN REMEMBER, all I have wanted to be was an artist.

Through a lot of hard work, persistence, dedication, and very (very, very) long days, I have been able to make a living from my practice.  It wouldn’t be a far stretch to say that art gives my existence on this planet purpose, and meaning.

At nine I was in my first exhibition and to my surprise, sold a painting. My dad turned out to be the buyer – but still, the feeling of earning my own money for doing something I loved was indescribable.

Fast forward to present day. I’m at a point in my career where even as an emerging artist, I am able to sell pieces regularly. And not just to my dad.

But there was a point in time not too long ago where I did my fair share of unpaid work – usually, compensation (if any) for my time was paid in the form of ‘exposure’, or a trade.

In one instance someone very generously offered two packs of Tim Tams (double-coated, mind you) for 30+ hours of work.

I don’t know about you, but that just doesn’t seem fair, so I’m officially calling bullshit on artists working for free.

ARTISTS HAVE A LONG AND PROUD HISTORY OF GETTING SCREWED when it comes to payment. For emerging artists, it’s a difficult process to figure out how to price your time and work. It’s quite an intimidating thing to barter your worth.

Even once established, artists run into complications. Michelangelo for example, in a long ranting letter from 1524 writes about an experience with Pope Julius II.

With the agreement of the equivalent to 1.4 million USD payment in place, Michelangelo ordered a shit-ton of marble with the expectation of carving the Pope’s rugged man body.

While waiting for the order to arrive, the artist – out of his own pocket – paid in advance for accommodation, a studio space, equipment, and workmen. After nine months of labour, Pope Deal-Breaker II chucked a complete 180 on poor old Mikey and pretty much said, “Nah, fuck you, hey – changed my mind. Don’t want it anymore. Capiche?”

To which Mike replied – “But, Popey. I like, totally just spent almost a year working for you for no money. Are you at least going to pay me for what I did?”

“Piss off”, exclaimed Pope Julius II with a limp flick of his liver-spotted claw.

JUST LIKE MIKE, I have experienced situations where I have spent time and money completing a commissioned work only for my trust to be stepped on, and squished into the dirt by the clients either not paying, or just dropping off the face of the earth. RIP.

For the majority of artists at the start of their careers, doing work for no pay is a reality. Payment in the form of ‘exposure’ is running rife in the artistic community.

For those unaware of what I’m banging on about, exposure as payment is a trade of your artwork for a promise that through publicity a certain number of people will (possibly) see your work and some of those people may even like your work enough for you to (possibly) get paid work. (Possibly).

Curious, I asked a fellow artist his thoughts on people doing work in exchange for exposure– “Exposure is a fake currency that people pedal to artists”.

Pretty spot on.

Exposure won’t pay your rent, or put food on the table, or buy art supplies.

But I do completely understand why it is appealing to young, unknown artists. I was one of them.

To be told that one of your original pieces may (emphasis on ‘may’) be seen by 5000 people is a pretty exciting thought – and artists who are just starting out can’t be blamed for taking up that offer.

But in all honesty, it is very rarely worth it.

Can you imagine a restaurant asking a chef to work for “exposure”? No. So why do people think it’s okay to ask this of artists?

PERHAPS IT’S BECAUSE OF THE WIDESPREAD DELUSION THAT artists are lazy, and that art is not a real job.

Again, I’m calling BS.

Making a living from your artistic practice is an inherently difficult thing to do. For one thing, your work never ends.  It’s a constant rotation of creating, research, networking, brainstorming, practice, exploration, marketing, and a million other things in between.

I thought I would bring up the subject of working for free with one of my teachers. His reaction was immediate. He told me about how he and his fellow artists had fought hard decades ago for the rights of art makers. His views were passionate, and he was adamant. Artists should not work for free.

Money is not the end goal. We create because we need to.

But at some point, you need to draw a line and demand to be paid. The trick is figuring out when and where to draw that fine line.

THROUGH MY EXPERIENCE AS A WORKING ARTIST, I have learnt many lessons – a lot of the time, I found them out the hard way.

If I had any advice I could stand by, it would be this:

If doing a commission – ask for a percentage of the cost upfront. This helps in covering materials, and also acts as a bit of a safety net just in case the worst scenario happens e.g. gravity suddenly reversing, and your client shooting into space never to be seen or heard from again.

And trust your gut.

I live by these words. Your gut really does know what’s up – if a situation feels shady or too good to be true, it’s okay to not take part. At the end of the day, just do what you’re comfortable doing.

No matter if you are an established artist, an emerging artist, or dreaming of becoming an artist – art is a lifelong job, it has value, and you shouldn’t work for free.