The 70/30 split versus truly valuing an artist’s work Print Email Email to a friend Your email Your name Friend's email Friend's name Verification Please prove your humanity Go on prove it :) Close Related Articles The return of Moon Mania, but are we asking the right questions? (locked) Why Australia's space race is caught in nostalgia, when we should be asking if it’s responsible to glorify space advancement at the cost of society, and how artists are shifting that conversation. Review: Whiteley, Opera Australia (NSW) Opera Australia has premiered its first new work in nearly a decade, and it’s quintessentially Australian, both in subject and tone, but does it capture the spirit of artist Brett Whiteley? The Old Guard are indeed getting old (locked) With the ageing of many senior figures in the cultural sector, Michael Reid makes a case for succession planning for galleries using his own experience as a case study. How wall colour manipulates the audience (locked) ArtsHub speaks with six curators on the merits of painting gallery walls to heighten audience engagement, build narrative or just make the artworks pop. (Premium content) Premium content Joe Frost Monday 21 August, 2017 A world in which dealers would take a 70% commission on an artist's work is a world beholden to the false images of marketing. This content is only available to members of ArtsHub Join Now for instant access! A subscription to ArtsHub will enable you to: Access the most comprehensive jobs board for the arts sector, with hundreds of positions posted weekly Keep up to date with the latest industry news Access thousands of members-only features, articles and guides Be in the know with upcoming events and exhibitions added daily ... and much, much more. Join Now and join the British arts community today Image CC Member login Email address Password Forgot password? About the author Joe Frost is an artist represented by Watters Gallery, Sydney. He is a Lecturer in Drawing at the National Art School and has written over thirty articles, catalogue essays and exhibition reviews for various publications including Artist Profile, The Australian Financial Review, Art and Australia and Art Monthly.