Detailed Discussion

Touring, or travelling exhibitions are a vital and important part of an artist’s career development. Tours expand artists' and curators' ability to connect with audiences, enhance touring venue programming and amplify and celebrate investments in an artist’s work.

Touring exhibitions are curated by an initiating organisation and then travel to host venues, sometimes for up to two years. The National Exhibitions Touring Support (NETS) network is made up of seven state and territory organisations: Artback NT, Art on the Move, Contemporary Art Tasmania, Country Arts SA, Museums and Galleries NSW, Museums and Galleries QLD and NETS Victoria who support the facilitation of touring exhibitions between initiating and host organisations. These facilitating organisations assist in contracts, scheduling, packing, and transporting works, public programs, education support as well as communications. Tours can also be arranged between two or more galleries directly.

Key Issues

Travelling exhibitions can be expensive. Preparation of the artworks for tour needs to be considered.

This may include:

• framing, or ensuring artworks are in an appropriate format for display

• conservation assessments and condition reports

• packaging and crating

• development of educational resources or catalogues

• development or commissioning of accessibility resources

• costs and considerations for:

  • insurance

  • freight and transportation

  • equipment requirements for artwork display

  • accessibility provisions

Artists are sometimes not included in conversations about touring opportunities for their work, and have raised concerns about little to no payment in some cases. There is a risk that artwork may be damaged during the touring process if not adequately cared for while travelling and installed.

It is important that organisations ensure they have the necessary funds to ensure proper compensation of artists for their involvement, adequate promotion and accompanying educational programs as appropriate, and the correct processes for caring for work during travel and exhibition processes.

Touring exhibitions may work with First Nations artists, curators or venues. The Australia Council for the Arts' Protocols for Using First Nations Cultural and Intellectual Property in the Arts provides guidance for touring venues and host organisations when working with First Nations people and their ICIP.

All parties have a responsibility to ensure all aspects of the tour consider the following:

• engaging with the Traditional Custodians of the land on which the touring venue is located to ensure the appropriate cultural considerations and consultations are undertaken prior to commencement of the tour

• when the tour includes First Nations artists or artwork, ensuring early planning discussions consider and embed ICIP protocols and cultural safety requirements into written agreements

• including an acknowledgement of the language nation of First Nations artists, and where possible and appropriate, a Welcome to Country by a Traditional Custodian

• inviting local First Nations stakeholders to openings

• building cultural capacity to ensure a culturally safe space

• making required changes to labels or signage for the use of Sorry Names or other cultural considerations

The host organisation must ensure:

• any required signage is communicated regarding film or photographic cultural warnings

The touring venue must ensure:

• signage is appropriately displayed for First Nations audiences who enter the exhibition

For more information and further guidance on respectful engagement with ICIP and First Nations artists, see First Nations and Working with First Nations Art Centres.

Legal obligations in the areas of intellectual property (see Intellectual Property), insurance (see Insurance) and workplace health and safety (see Workplace Health and Safety) apply in this area. 

In particular, ensure all marketing and promotion is consistent with copyright and moral rights under the Copyright Act 1968 (Cth).

Engaging Stakeholders

Exhibition tours involve significant collaboration between all stakeholders. Communication and good relationships are important.

Stakeholders can include:

• touring organisations

• host venues

• exhibition curator/producer

• artists

• private and institutional lenders

• government bodies

• sponsors (for the tour and individual host venues)

• host communities, including local First Nations communities

When it comes to artists, the level of communication and consultation from the touring organisation and host venue can vary. What the artist will or will not be consulted on will be outlined in the touring agreement.

When working with First Nations artists and content, ICIP protocols apply. Consultation with the local First Nations community is necessary for the cultural safety of both the artist and the community. A First Nations engagement plan with local community organisations and relevant people is good practice. A Welcome to Country should be arranged for exhibition openings, and there should be further discussion about other ways the exhibition can acknowledge place (e.g. a display or sign acknowledging Country to all visitors to the exhibition).

For more information, see First Nations.

Managing Damaged, Lost or Removed Work

When artworks are on tour for months or even years, it is possible they may become damaged or lost. All damage should be recorded, but if an artwork needs repair or is damaged beyond repair, a predetermined process involving the artist needs to be undertaken. The artist should be given the opportunity to undertake repairs or approve repairs by another party.

To prevent loss/damage and reduce freight and other costs, the use of ‘tour only’ copies of works where possible is recommended e.g. high-quality photography and prints. Once a tour has been completed, the copies can be destroyed or returned to the artist.

There is occasionally a reason to remove a work from a tour or exhibition. This scenario should be planned for in advance and the artist and curator/exhibition producer should be involved in the decision-making process. Artists should be consulted on issues that can affect their moral rights (see Intellectual Property) or if their work is to be excluded. Works should not be removed from an exhibition without notifying the artist and curator/exhibition producer, and there should be an attempt to find a solution that keeps the work on display. If an artwork must be permanently removed from an exhibition due to damage, or because it must be exhibited elsewhere, a replacement work from the same artist should be sought.

The touring organisation is responsible for arranging the tour of an exhibition and working directly with all parties.

Key players related to the touring organisation include:

• Exhibition Producer: the organisation that originally produced and/or exhibited the exhibition. This organisation may have originally commissioned the artworks and curated the exhibition. It may or may not be the same organisation as the touring organisation depending on the tour.

• Curator: the person who originally curated the exhibition. This may be the curator of the touring organisation, exhibition producer or an independent curator.

Responsibilities of touring organisations include:

• entering into a tour management agreement with the organising institution/initiating artist/curator and tour venue agreements with the host venues

• organising and liaising with host venues, artists/owners and curators/exhibition producers

• ensuring that host venues can appropriately care for the works in the exhibition

• outlining the accessibility of artworks and the exhibition as a whole

• paying for expenses such as artists’ fees, access provisions, travel, freight, and insurance for freight

• providing materials such as a touring manual, condition reports, education resources, catalogues, and materials to be used by the host venue for promotional purposes

• assisting in the management of any cultural protocols relevant to the touring or exhibition of any of the works by First Nations artists. This includes ensuring compliance with ICIP protocols

It is a good practice for the curator or exhibition producer to consult the artist early so they know how their work will be placed, installed and presented in each venue of the touring exhibition. This is used to inform the tour manual.

The host venue is the location where a touring exhibition is presented. Host venues will vary in size, resources, and audiences.

Responsibilities of host venues include:

• entering into a tour venue agreement with the touring organisation

• caring for the works that are exhibited at the venue

• unpacking and repacking the artworks

• installing the exhibition

• creating and distributing promotional materials and online marketing

• insuring the artworks whilst onsite, unless covered by the touring organisation

• completing condition reports in detail upon arrival and departure from their venue

• working with the artists and curator/exhibition producer when adjustments to the exhibition are needed to suit the venue

• ensuring accessibility resources are made available and communicating these to audiences 

• working collaboratively with the touring organisation, and artist or owner, to ensure compliance with ICIP protocols

• collecting data and reporting to the touring organisation, such as on social impacts, audience numbers, results of public programs and complete evaluation reports 

The artist is the creator of the artwork being exhibited and toured. There are many benefits for an artist involved in a touring exhibition, including building connections with new organisations and audiences.

The current owner of the artwork may be different from the artist. This can include private owners and institutions. When considering the relationship with the artist on a tour, the owner must also be considered. There may be a loan fee, acknowledgement or other condition requirements to be considered.

Artists included in the touring exhibition will loan their work to the touring organisation for the period of the tour.

Responsibilities of the artist or owner of the artwork include:

• providing the artwork and any required information such as value for insurance, and packing or installation instructions

• providing images and text for use in promotional materials

• supporting the development of accessibility resources or outlining existing accessibility

• communicating the extent to which they are willing and available to be involved in public programming, speaking with media and attending the opening

• ensuring that the work is suitable for touring

• working with the touring organisation to notify it of any ICIP protocols relevant to the touring and exhibition of the work

Some of these responsibilities may be shifted to the curator/exhibition producer or owner depending on individual situations. 

A touring organisation or exhibition producer should have a loan and tour agreement with each artist involved in the exhibition, as well as with the curator, any other individuals or organisations involved in the exhibition or tour; and a venue agreement with each host organisation.

The agreement with the artist should outline:

• location and dates of each exhibition

• arrangements for pick-up and delivery of work to and from the artist/owner

• fee payable to the artist, see Payment Standards

• licensing arrangements for use of images of the work and marketing/copyright permissions

• arrangements for licensing and attributing any communally owned cultural knowledge in the work

• confirmation of insurance coverage

• accessibility provisions that will be made available for the artwork and exhibition, and any venues where this may differ

• arrangements for the artist/s to travel or attend any events, if required, and responsibility for travel costs, event participation fee, access provisions and any other costs

• process for dealing with any damage or loss of a work

• process for dealing with the removal or withdrawal of a work by the organisation or artist

• process for dealing with any interest in purchasing the work

• process for returning, and confirming the return, of the loan

• any agreed text for artist and/or community attribution

• any agreed notice about the accompanying story of the work

• any approved biographical materials of the artist

The agreement with the host organisation and/or producer should outline:

• marketing requirements and agreed division of responsibility

• consistent branding requirements

• specific credits or funding taglines that need to be included alongside the artwork/s, including any notices agreed with the artist

• negotiated arrangements regarding artist fees, requirements around image use, text, speaking engagements or workshops, as well as any conditions placed on use of ICIP

• insurance coverage responsibilities

• installation requirements and staffing

• opening event and travel cost implications and agreements

• key stakeholders and parties associated with the exhibition

• engagement with local Traditional Custodians and Welcome to Country requirements at each touring venue

• accessibility requirements

• dispute resolution approach (see Grievances and Dispute Resolution)

Attachments to the agreements may include:

• condition report of the artwork

• instructions for installation, display and maintenance throughout the exhibition

• accessibility resources

• instructions on how the work should be packaged for transport

• any agreements with representing galleries or agents

• any timely issues that may impact the tour (i.e. border restrictions, vaccine mandates, cancellations)

In the case of a gallery hosting an exhibition organised by a third party, the separate obligations and responsibilities of each of these parties should be identified through a contract between these parties. These separate obligations and responsibilities (publicity, catalogue, invitations, fees, insurance, freight, duty of care, etc.) should also be communicated in writing to the artist/s.   

Amendments to any contract or agreement should only be made in writing with the agreement of both parties.

It is the responsibility of the host venue to ensure the website, social media, promotional materials, ticketing systems, public programs and building or space are accessible.

Touring exhibitions may have existing accessibility resources such as audio descriptions, captions, and public program materials from the originating gallery, exhibition producer, and the artist. The host organisation is responsible for ensuring these resources are installed correctly, made available to audiences, and the accessibility of the exhibition and space is communicated to audiences including any existing resources that are unavailable at a given venue. 

The touring organisation also has a role in ensuring that the exhibition is accessible before advertising to host venues, clearly outlining the accessibility provisions available and what is required to support them (e.g. particular technology or training).

For more information, see Access Rights for d/Deaf and Disabled People.

Artists will be paid a fee by the touring organisation or exhibition producer for the loan and display of the artwork throughout the tour. For more information, see Payment Standards.