This information is located in our software for artists. Some references within the text will be software related.

INVENTORY

If you make, sell or donate work, you need to keep track of:

• the artwork’s location
• if and when it was sold, and who bought it
• if it is on loan for an exhibition
• whether it is in transit to an exhibition,
• at your studio
• in storage
• at gallery
• destroyed

This is especially important if you make artwork in multiples or editions or have work on consignment with a gallery or an art consultant. Do not rely on a commercial gallery to do this for you, because galleries go out of business all the time, lose records or purposefully try to keep their artists in the dark. Create your own records. It is important to be proactive and organized about your business.

If you make work that travels or if you have a series of works with similar titles, it is vital to keep track of where everything resides. Always get a list of the work on consignment with a dealer, a gallery, or an art consultant. Additionally, get a list of works that have sold from a dealer, including names, addresses, phone numbers and E-mail addresses.

It is illegal for your dealer to not give you the names of your collectors. Keep in touch with all clients regarding sales. Know where your work is at all times. The history of where the art has been shown, and the collections in which it has been included, is crucial for your records. Imagine having a retrospective without knowing where your art is located. It just means more work for the curator. Remember that artist’s monographs often include a section that tracks the history of the artist’s work, what collections it is in etc. Having accurate records is vital to the creation of this index. Labeling the back of the work also aids the buyer and curator in knowing the history of the artwork. Meticulous record keeping may be the only thing to speak for an artist once she or he is gone.

You always want to keep an inventory of images in both digital and hard copy form. Using the GYST software to keep track of your work will aid in this process. Always make sure to back up your archive, print out an inventory list, and keep it in a safe, secure place.

Many well-known artists did not keep track of their work at the beginning of their careers. Robert Rauschenberg is a case in point. I toured one of his studios in New York and his staff said that they are still trying to find pieces of his inventory. They also have an extensive collection of photos that have yet to be archived. Don’t wait until you are famous. START NOW!

KEEPING RECORDS

Things to consider regarding record keeping:

• Implement a filing system. Have a file for each exhibition you are participating in labeled with the name, date and location of the exhibition. Within that file have separate manila folders with different headers including correspondence, consignments, images, articles, press releases and press, budget, and invitations.

• Keep track of all exhibitions and grants including acceptance and rejection letters. These files should include the submitted application or proposal, submitted images, and all correspondence. If ever applying again, the previous application will help you to avoid repeating mistakes.

• If teaching, keep track of all of your syllabi, a selection of student work in slides or digital formats and student evaluations for future reference.

• Keep a ledger, either on your computer or by hand, of all your income and expenses.

• Keep track of your billing and collection of payments

• Keep track of your inventory of goods for sale, on consignment, and sold work.

• Keep an image inventory, both digitally and in hard copy form.

• Update files, records, inventory and budgets once a month, at minimum; do not wait until the end of the year.

• Do your taxes on time and remember to file your sales taxes according to the timetable.