to confer and commit

by Ben Spencer, 5 Oct 2008

In writing a second piece for the PAR+RS web site, my thoughts turn – naturally? consecutively? – to the commissioning process. Projects funded by the Scottish Arts Council (SAC) Artists Work in Public Places (AWiPP) scheme adopt a number of routes to commission project managers, curators, lead artists and artists (all subsequently collectively referred to as artists) which makes me conclude there is really only one way to commission artists work – i.e. the most appropriate way. That seems a little bit obvious perhaps, but please bear with me in reaching this conclusion.

LET’S go back to basics. The Shorter Oxford English Dictionary (Third Edition 1983) includes the following definitions of the word commission:

noun substantive Middle English
1. Authoritative charge to act in a prescribed manner. 2. Authority committed to any one 1480; spec. that of an officer in the army or navy 1672. 3. An instrument conferring such authority ME.; spec. the warrant by which an officer in the army or navy is appointed to the rank and command he holds 1642. 4. An office conferred by such a warrant 1708. 5. The condition of being authoritatively entrusted or given in charge 1573. 6. A body of persons charged with some specified function 1494. 7. The entrusting of (authority, etc., to) 1883. 8. A charge or matter entrusted to any on to perform 1570. 9. Authority given to act as agent for another in business1622. 10. A pro rata remuneration for work done as agent 1725. 11. The committing (of crime, etc.) 1597.

verb transitive 1661
1. To furnish with a commission or legal warrant. 2. To empower; to entrust with an office or duty 1683. 3. To send on a mission1697. 4. To give a commission or order to or for 1790.

Ignoring references to the armed services (the air force obviously didn’t exist in the 17th Century), the key words are illuminating and reflect the status, and seriousness, of any project plan or contract:

• authority, charge, instrument, warrant, office, function, entrusting, agent, remuneration, committing,
• to furnish, to empower, to entrust, to send on a mission.

That seems clear then – a commission is a definitive instruction to carry out a specified piece of work, in a particular manner. But how do you actually go about commissioning artists’ work? There is no shortage of advice from public agencies and funding bodies – in print and online – about drawing up a commission, covering: a project’s conceptual framework, aims and objectives, developing a brief, artist selection, implementation, management, evaluation and budgeting. Some references may be instructive:
http://www.publicartonline.org.uk/practical/commissioning/index.html
http://www.commissionsnorth.org/commissioning/
http://www.artscouncil-ni.org/artforms/public_art.htm
http://www.artscouncil.org.uk/publications/information_detail.php?
http://www.happen.org.uk/resource.php?key=40

More specific advice is offered SAC towards applying to its own Public Art Fund, but the areas covered are applicable to all projects involving artists work in public places:
http://www.scottisharts.org.uk/1/information/publications/1005724.aspx

While such advisory documents are useful to outline strategic approaches in commissioning artists to deliver projects, I have been struck through talking to people involved in ‘live projects’ about how the actual appointment process varies and, in some circumstances, how this has evolved from the original plan. This reflection therefore concentrates on the selection process rather than the more prosaic aspects of project delivery. To quote publicartonline: “the selection of an artist or craftsperson for a public art commission should be an intriguing and exciting task”.

In offering advice to projects looking to engage artists in their work, I had always followed the mantra that there are three main ways of selecting an artist:

• open competition – advertising widely to invite artists to submit applications
• limited competition – compiling a short list from which a limited number of artists are invited to work up proposals
• direct invitation – selecting an artist to propose work for a site, participate in the design process, or act as lead artist

I hadn’t thought much further beyond this simple guidance, but these options highlight an important difference in approach – are you looking for a person (manager/curator/lead artist/artist) or a proposal? The nature of the project will also influence the option you follow – not the type of project being commissioned (stand alone artwork, participatory project, residency etc.), but the structure of the project. Where a commission is being implemented on behalf of a wide range of stakeholders and external agencies, an open process involving artists’ presentations is likely to be required. The scale of a project will also influence the manner of appointment – contract values may trigger a requirement to put the project out to tender and this will impact on the selection process.

These issues may also determine how artists are invited or selected to apply for a commission. Promoting artists opportunities is becoming increasingly easy, and more diverse, as online listings and networks complement print media as sites for advertising projects. Again the nature of the project will influence where advertisements are placed – an artwork forming an integral part of a building project is likely to benefit from being advertised in the architectural press. Personal networks should also be used to ensure the greatest exposure of a project and therefore attract the widest range, and variety, of submissions. Of course, artists can be contacted directly to apply, as part of any competitive process.

Of course, the process is simplified if it relates to a single, small scale project, but this might also limit the commissioning possibilities. A large scale project, made up of multiple opportunities for artists and comprising different commission strands, means the prospect may be available to share ideas and proposals. An artist applying for one particular commission may be unsuccessful, but then asked to submit for a different project.

As pointed out above, the selection itself should be an intriguing and exciting task and can be an excellent inspirational and educational process for people who don’t usually come into contact with artists or their work. Consultations, exhibitions, presentations and interviews can generate enthusiasm for a project – getting people involved and talking about art.

Returning to the OED’s definitions, I love the idea that commissioning artists work in public places is equivalent to the committing of crime, and I’m sure many people might agree with this sentiment, although of course I cannot condone, or suggest that SAC should support, criminal activity. I also relish the image that commissioning artists work in public places is equivalent to sending an artist on a mission, but my conclusion is that there is no straightforward answer to how to appoint an artist. You must chose the most appropriate route, in the context of your project, to commission artists work and this will vary from project to project.

Ben Spencer
September 2008