How to Run an Art Competition + Launch Checklist

Define your competition’s scope before anything else

The art competition landscape spans enormous variety. From open submission shows accepting all media to highly focused ceramics prizes, your first decision shapes everything downstream.

Physical exhibitions like the Royal Academy Summer Exhibition receive 15,000+ entries. Smaller focused competitions might attract 200-400 artists. Neither is better, but the infrastructure requirements differ dramatically.

Start with media scope. Are you accepting painting only, or sculpture, installation, video, performance, digital work, ceramics, textiles, and everything between?

Each medium introduces distinct logistical challenges. Video requires playback equipment and darkened spaces. Sculpture needs floor loading calculations and potentially outdoor locations. Installation work might need entire rooms. Defining your purpose clearly influences not just what you accept but whether you can realistically accommodate it.

Geographic scope matters intensely for art competitions. Local competitions eliminate shipping nightmares but limit entry pools. National programmes attract stronger work but create complex logistics. International competitions offer prestige but multiply costs exponentially: customs documentation, international insurance, climate-controlled shipping.

Your venue capacity and budget determine what’s feasible, not what sounds impressive.

Set your entry fees and prize strategy wisely

Art competitions typically charge between £15-45 per entry based on 2025 market analysis. Free submissions exist but require substantial sponsor backing or institutional funding.

Pricing your awards strategically requires balancing revenue needs against accessibility concerns, particularly for emerging artists.

Entry fees above £35-40 significantly reduce submissions from emerging artists and students. Professional artists with gallery representation tolerate higher fees if the opportunity justifies investment. Prize money, exhibition exposure, and selector credibility all influence whether artists perceive value beyond the fee.

Consider tiered structures. Early bird pricing (15-20% discount) rewards commitment, provides operational cash flow and reduces last minute entry jitters. Student rates acknowledge financial constraints while building future relationships. Multiple entry discounts encourage broader participation: “Submit three works for £75 instead of £90” works well for artists with cohesive bodies of work.

Modern platforms process payments directly to your account via Stripe, eliminating the wait for payouts.

Physical art competitions offer unique monetisation beyond entry fees. Exhibition sales commission (typically 30-40%) can offset costs if you facilitate sales. Print-on-demand partnerships for selected works. Catalogue sales if you produce exhibition documentation. Corporate sponsorship from art supply companies, framing services, or galleries. Insurance partnerships where sponsors provide coverage. Just ensure commercial arrangements don’t compromise artistic integrity or create conflicts of interest.

Master the logistics of physical artwork

Nothing exposes poor planning faster than accepting a 2×3 metre canvas you can’t store or transport. Physical artwork logistics separate successful art competitions from disasters waiting to happen.

Submission format decisions matter enormously. Documentation-only competitions (artists submit photos/videos of work) eliminate physical logistics entirely but add complexity to judging. Texture, scale, material quality, and presence disappear in digital reproduction. Physical submissions for shortlisted finalists balance both: initial digital review, then request actual works from selected artists. This staged approach manages costs while enabling proper evaluation. If you really can’t experience the work in real-life during the selection (and let’s face it plenty of us don’t have the budgets to), be sure that your submission platform allows for very high resolution imagery you can zoom in and out of.

Size and weight restrictions need careful consideration. Most competitions specify maximum dimensions (e.g., 150cm largest dimension) and weight limits (e.g., 25kg) based on venue constraints and handling capabilities. Exceptions for exceptional work sound generous until you’re arranging specialist transport for a 200kg marble sculpture. Be realistic about what your team and venue can handle.

Shipping and collection logistics require detailed protocols. Will artists deliver and collect personally? Will you arrange courier collection? Who pays shipping: artist or competition? Regional competitions often require artist delivery, reducing logistics complexity. National programmes typically need courier arrangements. International competitions demand customs documentation, import duties consideration, and international insurance coverage (and with Brexit, this has got complex in the UK).

Insurance becomes tricky with physical art. Public liability covers your venue and team. Transit insurance protects work during shipping. Exhibition insurance covers displayed work. Artists maintaining their own insurance simplifies your exposure but requires verification. Competition insurance covering all submitted work protects artists but can be very expensive depending on total declared value.

Handling protocols protect both artwork and your organization. Trained staff or volunteers familiar with art handling prevent damage. White gloves for works on paper. Proper lifting techniques for heavy pieces. Documentation of condition on arrival protects against damage claims. Clear policies about who installs work, especially sculpture or installation requiring assembly.

Build submission requirements for diverse media

Art competitions accepting multiple media need specifications accommodating sculpture, painting, photography, video, digital, installation, textile, ceramics, and mixed media without creating impossible submission processes.

Documentation standards must balance consistency with media-appropriate flexibility.

Paintings and flat work: specify high-resolution images showing full work plus details, from multiple angles if relevant, with colour accuracy paramount.

Sculpture: require images from minimum four angles, detail shots showing technique, scale references showing size relationship to environment. Installation: request images showing full installation plus process shots demonstrating how work occupies space.

Video: accept playback files plus still documentation, with file format and length specifications. Digital work: specify file formats, screen dimensions, and whether interactive elements are allowed.

Technical specifications need media-specific clarity.

For physical work: maximum dimensions (height, width, depth), maximum weight, framing requirements (if any), whether work must be ready to hang/install, special installation needs (electrical, plumbing, darkness, dedicated space).

For video/digital: file formats accepted, maximum duration, screen specifications, audio considerations, whether artist provides playback equipment or venue supplies it.

Framing and presentation policies prevent arguments later. Must paintings be framed? If yes, what frame specifications? Can artists use unconventional presentation? Must sculpture have plinths? Who provides plinths: artist or venue? Can installation work extend beyond designated space? Setting clear parameters enables artists to prepare appropriately while protecting your venue constraints.

Installation requirements deserve detailed articulation. Does artist install their work, or will your team handle it? If artist installation, what access will they have and when? For complex installations requiring electrical, carpentry, or structural work, what support will venue provide? What costs does artist cover versus competition? Ambiguity here creates confrontation when ambitious installations exceed your capacity.

Artwork sales policies need addressing upfront. Will exhibited work be available for purchase? If yes, what commission structure? How are sales handled: through you, direct to artist, or through artist’s gallery? Must prices be displayed? Can artists refuse to sell selected works? These decisions affect artist participation and your potential revenue.

Clear submission guidelines prevent most problems before they start, and proper platforms make updating guidelines seamless when questions arise.

Secure selectors who understand your scope

Art competitions typically use “selectors” rather than “judges,” reflecting curatorial practice where expertise in selection matters more than scoring. Panel credibility determines artist participation more than any other factor.

Curators, gallery directors, museum professionals, established artists, art critics, and auction house specialists resonate with artists. Mix experience intentionally: one established curator with institutional credibility, one emerging curator bringing fresh perspective, one practicing artist understanding creation challenges, one dealer/gallerist with market knowledge. Balance prevents both conservative groupthink and trend-chasing.

Approach potential selectors 6-8 months before launch. Art world schedules fill far ahead. Quality selectors receive multiple requests; early approach signals professionalism. Compensation expectations vary: £300-600 per selector typical for one-day selection, more for multiple rounds or extensive review. Some will work for exposure alone, others may believe in the values of your programme and give their time for free. However, remember those who can give their time for free may not represent the diversity you wish from your panel (if you are celebrating working class art, they may not be able to afford a day without pay). Clarity prevents awkward conversations – but whatever you choose respect your selectors time, and give them the simplest judging process possible (no faffing through spreadsheets and files).

Blind selection builds trust when feasible. Removing artist names from digital documentation ensures work gets judged on merit alone.

Selection format requires decision: in-person viewing or digital review? In-person selection provides proper evaluation but limits selector availability and increases costs (travel, accommodation, venue hire). Digital review enables remote participation but loses some of the physical qualities. Hybrid approaches can work: digital first round eliminating clear non-selections, then in-person final selection viewing actual shortlisted works to pick winners.

Selector coordination shouldn’t monopolise your time. Clear briefs explaining selection criteria, timeline expectations, and process structure keep everyone aligned. Platforms enabling remote scoring and commenting eliminate endless email chains. Automated reminders ensure timely completion without nagging.

Get your timeline and venue planning right

Timing your submissions window affects both marketing reach and operational feasibility. Art competitions typically run 2-4 month submission windows. Longer windows acknowledge artists need time to prepare work and documentation. Shorter windows risk reducing participation, but can work if you accept existing works.

Seasonal considerations matter differently for art. Avoid summer entirely: galleries close, curators take holiday, artists travel. September-November works well for submissions, avoiding December holidays. January-February catches new year energy. Exhibition timing depends on venue availability and sector rhythm. Spring exhibitions align with gallery season. Autumn shows capture institutional programming cycles.

Venue selection shapes your competition. Commercial galleries offer credibility and professional environment but limit capacity and may require revenue sharing. Arts centres and community spaces provide larger capacity and flexibility but variable facilities (and programme their spaces sometimes years in advance). Museums offer prestige but complex booking processes and high standards. University galleries balance professionalism and accessibility (but lower footfall). Consider: floor loading for sculpture, ceiling height for large work, lighting quality and control, climate control for artwork protection, security systems, accessibility for visitors and artwork delivery, kitchen/storage for opening reception, insurance requirements.

Exhibition duration balances visibility with practical constraints. 2-3 weeks typical for commercial galleries. 4-6 weeks works for arts centres. Longer exhibitions increase viewing opportunities but extend storage and insurance costs. Opening reception attendance (who and how many) matters more than total duration for many artists.

Choose technology that handles physical and digital

Art competitions stress technology differently from purely digital submissions. Your platform must accommodate physical artwork documentation while managing complex logistics.

Image galleries need professional presentation: high-resolution display, zoom functionality for detail examination, multiple image viewing (full work, details, installation views), colour accuracy in reproduction. Selectors evaluating artwork need interfaces respecting the work, not thumbnail grids making proper assessment impossible.

Physical logistics data requires careful planning. You’ll need to collect: artwork dimensions, weight, special handling requirements, insurance value, shipping preferences, installation needs.

While advanced systems can track artwork arrival confirmation, condition on receipt, storage location, installation status, and collection arrangements, few competition platforms currently offer comprehensive physical logistics management. Most organizers supplement submission platforms with spreadsheets or dedicated tools for tracking physical artwork through the exhibition lifecycle. Make sure you can export submissions data to make this process as seamless as possible – or better still connect both systems together through Zapier.

Modern submission management streamlines core processes: high-resolution image upload and professional gallery display, custom fields per category for media-specific requirements, bulk communication tools with exportable reports for coordinating physical logistics, payment processing direct to your account without platform commissions.

Market to artists where they already engage

Art competition marketing reaches artists through different channels than commercial audiences. Your promotion needs to reach practicing artists, not general art lovers.

Artist networks and platforms perform better than generic social media. Instagram works if you target artist accounts specifically, not general art appreciation. Twitter/X connects with art discourse. LinkedIn reaches artists in professional contexts. But dedicated platforms matter more: ArtRabbit for exhibitions, Artwork Archive for artist management, regional artist databases and mailing lists. We’ve compiled a group of listing sites for you here.

Educational institutions provide concentrated artist populations. University fine art departments, art schools, and colleges maintain student and alumni mailing lists (don’t expect this to be quick – unless you know them already!). Partner with course directors: they’ll share opportunities matching their teaching. Recent graduates especially seek competition opportunities for career building. Student rates and emerging artist categories incentivise participation.

Exhibition in credible venues attracts quality submissions more than prize money alone.

Artist-run spaces, studios, and collectives reach practicing artists directly. Many cities have studio buildings housing dozens or hundreds of artists. Reaching building coordinators gets your competition in front of concentrated communities. Artist collectives and groups often share opportunities through internal channels.

Art publications and platforms aggregate opportunities artists actively monitor. Artists Newsletter (a-n.co.uk), Artwork listings, regional arts council websites, competition aggregators listing deadlines. Submit your competition details 2-3 months before deadline. Artists plan submissions around multiple opportunities.

Gallery and museum networks provide credibility. If established galleries or institutions promote your competition, their endorsement signals legitimacy. Partner institutions might share through their artist networks.

Plan your exhibition and prize structure thoughtfully

Art prizes range from exhibition alone (the opportunity provides value) to significant cash awards. The Turner Prize offers £25,000. Regional competitions might award £1,000-10,000. Emerging artist prizes often emphasise exhibition opportunity over cash, recognising career value of selected shows.

Cash prizes remain attractive across career stages. £500-1,000 for category winners provides meaningful recognition without requiring enormous budgets. £2,000-5,000 for overall winners creates genuine prestige. Prize money needn’t be enormous to motivate: exhibition opportunity, selector exposure plus modest cash often works better than large cash with no show.

Exhibition itself constitutes the primary prize for many artists. Two weeks in a credible venue with proper lighting, professional installation, and opening reception provides genuine career value. Catalogue inclusion, exhibition documentation, and promotion amplify that value. Artists understand this: exhibition in right venue matters more than cash from unknown organisers.

Runner-up recognition matters enormously in art. Selected artists not winning prizes still benefit from exhibition. Commendation or highly commended status provides credential. Online exhibition of all shortlisted work extends recognition. Some competitions exhibit all accepted work, not just winners: inclusion becomes achievement itself.

Prepare for installation and opening

Pre-exhibition logistics prevent opening-day disasters. Artwork arrival should complete 1-2 weeks before opening. This buffer allows: condition checking and documentation, storage until installation begins, resolution of any shipping damage, time for artists to address missing elements.

Installation timeline needs generous allocation. Professional installers might hang 20-30 paintings per day. Sculpture and complex installations require significantly more time. Lighting adjustments, label placement, and final touches add hours. Budget: 3-5 days for 40-60 work exhibition, 5-10 days for 100+ work shows, additional time for complex installations or mixed media.

Health and safety compliance protects everyone. Risk assessments for installations involving electrical work, suspended elements, public interaction, or unconventional materials. Fire safety compliance for work incorporating flammable elements. Accessibility ensuring visitors with disabilities can engage with work. Insurance confirmation covering public liability during exhibition.

Exhibition documentation provides lasting value. Professional photography of exhibited work, installation views showing how work occupies space, opening reception coverage, video walk-through if appropriate. This documentation serves multiple purposes: promotion of winners, evidence of competition quality for future years, content for sponsors demonstrating engagement, artist portfolio material. Plus it feeds social media – which is another plus for the artists – more exposure to the right people = more value.

Manage artwork returns and competition conclusion

Exhibition conclusion requires organised demobilisation. Artists need clear collection windows: specific dates/times for collection, whether they must collect or you’ll ship, costs for extended storage if collection delayed, disposal policy for uncollected work after deadline. Be firm: extended storage becomes expensive.

Shipping returns to artists requires similar logistics as receiving. International returns especially complex: customs declarations, insurance coverage, packaging meeting shipping standards. Some competitions ask artists to provide return shipping labels at submission. Others incorporate return shipping in entry fees. Either works if you are clear upfront.

Artwork sales concluded during exhibition need proper handling. Payment processing and commission calculation, transfer to artist minus commission, sales documentation for both parties, arrangement for sold work collection or shipping. Some competitions hold sold work until exhibition ends; others release immediately. Specify in advance.

Post-exhibition evaluation informs future editions. Document thoroughly while fresh: total submissions versus projections, artist satisfaction, selector feedback, visitor numbers, press coverage, financial performance, operational challenges and solutions.

Here are 5 key metrics worth measuring

Winner and participant follow-up maintains relationships. Share exhibition photography with all participating artists, promote winner achievements and subsequent developments, announce future competition dates if recurring, thank selectors publicly and privately, recognise sponsors and supporters, evaluate partnership value for future collaboration. This is essential in creating ambassadors for your next programme.

Finally

Launching an art competition successfully requires more preparation than digital programmes. The physical logistics of handling artwork, the exhibition space requirements, and the insurance and shipping considerations all create complexity. But done well, art competitions discover remarkable talent, build artistic communities, and create exhibitions people remember. Planned properly it will also allow you to reduce required budgets – this guide was thorough, but not everything here is needed for all art programmes.

The critical decision is choosing infrastructure that handles submission management, documentation review, and communication workflows effectively, letting you focus on curating excellent exhibitions rather than fighting spreadsheet chaos.

Dedicated art entry competition management streamlines processes from category-based submission forms through bulk communication tools for physical logistics coordination, letting you focus on building communities and celebrating artists.

For more guidance on running any type of competition, awards, or grants programme, see our Ultimate Guide to Managing Submissions.

Frequently asked questions