Senior High School

Apprenticeship and
Exploration in Art
Production
Professional and Ethical Practices in
Specific Arts Field
Learner’s Module Arts and Design - 12
Quarter 1 Module 2

BLECYREZZA E. PILUDEN
Developer
Department of Education – Cordillera Administrative Region

NAME: ________________________ GRADE AND SECTION: _____________

TEACHER: ___________________________ SCORE: ____________________
 Republic of the Philippines
DEPARTMENT OF EDUCATION
Cordillera Administrative Region
SCHOOLS DIVISION OF CAR
Wangal, La Trinidad, Benguet

Published by:
Learning Resource Management and
Development System

COPYRIGHT NOTICE
2021

Section 9 of Presidential Decree No. 49 provides:

“No copyright shall subsist in any work of the Government of the

Philippines. However, prior approval of the government agency of office
wherein the work is created shall be necessary for exploitation of such work
for profit.”

This material has been developed for the implementation of K-12 Curriculum
through the Curriculum Implementation Division (CID)—Learning Resource
Management and Development System (LRMDS). It can be reproduced for
educational purposes and the source must be acknowledged. Derivatives of
the work including creating an edited version, an enhancement or a
supplementary work are permitted provided all original work is
acknowledged and the copyright is attributed. No work may be derived from
this material for commercial purposes and profit.

2
 PREFACE

This module is a project of the Curriculum Implementation Division

particularly the Learning Resource Management and Development Unit,
Department of Education, Schools Division of CAR which is in response to
the implementation of the K to 12 Curriculum.

This Learning Material is a property of the Department of Education-

CID, Schools Division of CAR. It aims to improve students’ performance
specifically in Arts and Design.

Date of Development : March 2021

Resource Location : CAR-LRMDS
Learning Area : Arts and Design
Grade Level : 12
Learning Resource Type : Module
Language : English
Quarter/Week : Q2 / W3-W4
Learning Competency/Code : applies professional and ethical
practices in the specific arts field. AD_ AEAP 12-I-IIc-j-5

3
 ACKNOWLEDGEMENT

The developer wishes to express her gratitude to those who help in

the development of this learning material. The fulfillment of this learning
material would not be possible without these people who gave their support,
helping hand and cooperation:

Development Team

Author/s: Blecyrezza E. Piluden

Illustrator on cover and icons: Kili Europa E. Piluden / Blecy Piluden

School Learning Resources Management Committee

Brenda M. Cariño School Principal
Janet B. Pascua OIC/HT - Asst. School Head - SHS
Francis B. Lumiwes Subject / Learning Area Specialist
Jopie B. Ferrer School LR Coordinator-SHS

Quality Assurance Team

Lolita A. Manzano EPS – MAPEH – Arts and Design
Virginia M. Alindayo PSDS –District 3

Learning Resource Management Section Staff

Armi Victoria A. Fiangaan EPS – LRMDS
Victor A. Fernandez Education Program Specialist II – LRMDS
Christopher David G. Oliva Project Development Officer II – LRMDS
Priscilla A. Dis-iw Librarian II
Lily B. Mabalot Librarian I

CONSULTANTS
JULIET C. SANNAD, EdD
Chief Education Supervisor – CID

CHRISTOPHER C. BENIGNO, CESO V

Asst. Schools Division Superintendent

MARIE CAROLYN B. VERANO, CESO V

Schools Division Superintendent

4
 TABLE OF CONTENTS

COVER PAGE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . i
COPYRIGHT NOTICE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ii
PREFACE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . iii
ACKNOWLEDGEMENT ..................................... iv
TABLE OF CONTENTS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . v
Title Page ............................................... 1
What I Need to Know . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2
What I Know . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3
What’s In .................................................... 5
What’s New . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5
What is It . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6
What’s More . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11
Activity: Good practice and ethics observed . . . . . . . . . . . . . . . . . . . . . . . 11
Assessment: True or False. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12
What I Have Learned . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12
What I Can Do . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13
ADDITIONAL ACTIVITY ................................... 14
ASSESSMENT ............................................. 15
ANSWER KEY ............................................ 17
REFERENCES ............................................ 18

5
 Professional and Ethical
Practices in Specific Arts Field

Learner’s Module in
Apprenticeship and Exploration in
Art Production

Arts and Design - 12

Quarter 1 Module 2

BLECYREZZA E. PILUDEN
Developer
 The main course of this module is Apprenticeship and Exploration in Arts
What I Need to Know
Production ( Visual arts, Media Arts, and Applied Arts ).

These learning materials are based on the Most Essential Learning

Competencies (MELC, DepEd 2020) that are developed in a form of 4 modules
in the duration of eight (8) weeks.
This module is subdivided into four modules based on the most essential
learning competencies that a student must learn in apprenticeship. Brief
discussion of lessons, practice exercises, and guided readings are also
included in this module to enhance learning regarding the application of
professional and ethical practices in the specific arts field.

ABOUT THE MODULE

The nature of the apprenticeship in this module is the discussion on the
application of professional and ethical practices of various art fields in the
creative industry.
The module contains learning activities that will guide you in performing
the tasks needed in this module.

The significance of this distance learning material will give you a

combination of basic instructions which you will need to read carefully before
completing the tasks provided before proceeding to the next level.

LEARNING OBJECTIVES

This module contains the following learning objectives the student must
develop. At the end of this module, you must be able to:

a. identify the proper of professional and ethical practices applied in

various art field in apprenticeship and in art production.

b. demonstrate understanding on the proper application of professional

and ethical practices in various art fields in apprenticeship; and

c. gain appreciation on the proper professional and ethical practices

applied in apprenticeship.

2
 What I Know
Before you begin this module, you will be taking a pre-assessment of
what you already know about the contents of the lessons in this module. Please
read the instructions carefully and answer with honesty.

ASSESSMENT
Multiple Choice. Instruction. Select the correct answer under each item. Write
the letters on the spaces provided.

_____ 1. Which of the following practices should we consider when leaving

one gallery to another?
A. The inventory of artworks and good agreement is in order.
B. Leave the gallery at once when you are being paid.
C. Leave your artwork at once you are being paid.
D. All the above

_____ 2. What do you think is the best thing an artist can obtain from: “being
generous in sharing ideas and knowledge” rather than being
secretive?
A. Gain more client and customers
B. Received monetary awards and recognition.
C. Get much appreciated and gain excellent reputation
D. D. all the above

_____ 3. Which demonstrates the proper ethic in using an artist’s image when
creating artwork that looks like theirs?
A. Give credit to the artist
B. Bribe the artist
C. Ignore the artist
D. All the above

_____ 4. “Great artists steal, but bad artists copy.” What golden rule do we
ponder here?
A. Stealing other ideas is just a matter of business.
B. Credit to whom you are being inspired and influenced by other’s
ideas.
C. Stealers can’t copy creativity.
D. All the above .

3
______5. In conducting or producing your own solo exhibition, which of these
manifests’ professionalism?
A. Don’t be late because people want to see you personally
B. Talk to strangers, visitors, curators, collectors
C. Make connections
D. All the above

_____6. Which of these are part of the artists’ code of ethics?

A. You may use another artist’s image
B. Be aware of the shady collectors
C. Be dictated from gallery’s owner
D. All of the above

_____7. Which among these are the good practices of an artist when exhibiting
their artwork?
A. Use signages if artwork is not appropriate to children
B. Foods and drinks are allowed in the exhibition
C. Invite school artwork for exhibition
D. All the above

_____ 8. What would an artist consider when creating environmental art for
exhibition?
A. Consider not to damage the expensive flora and fauna being
used.
B. Consider not to damage flora and fauna in the area
C. Consider endangered species, plants, and animals as part of the
exhibition.
D. All the above.

_____ 9. Which of these are professional and good practices should an artist
be aware of?
A. The Artist Code of Ethics
B. Safety use of art materials and equipment
C. Use of Copyright
D. All the above

_____10. What must an artist be aware of when exhibiting and selling of

artwork?
A. Consignment Agreement
B. The pay an artist receives
C. The number of commissions the artist receives
D. All the Above

4
 WHAT’S IN

Below are the main topics in the previous lessons under the
apprenticeship and exploration in art production, and in performing arts. These
are the underpinning components in the succeeding lessons in this module.
Tick the appropriate item where professional and good ethics in apprenticeship
should be observed.
Underpinning components

Artist-mentor and the creatives

Significant meaning of art making procedures and techniques

Roles, responsibilities, and chain of accountability

Safety and security procedures

Art production techniques and principles

WHAT’S NEW
An apprenticeship is being trained in working in a good manner and
observing work standards and ethics in dealing with their working environment.
The apprenticeship is a casual opportunity for a learner to become
professionally competent in their field of art specialty. This is where a student-
apprentice is given proper exposure, and likewise let them discover their
potential, and level of proficiency.
Below are the components in the previous lessons that are to be
encountered during the succeeding activities. What professional or ethical
practices that you think are appropriate on these components? Write these on
the spaces provided.

Underpinning
Professional / ethic practices
components
Artist-mentor and
the creatives

5
 Significant
meaning of art
making
procedures and
techniques
Roles,
responsibilities,
and chain of
accountability
Safety and
Apply religiously the safety and security standards for job
security
occupation.
procedures
Art production
techniques and
principles

WHAT IS IT
The Ethics for Artists
These are the considered ethical points for artists that should be focused
in when creating artworks in the creative industries:
- Treat the co-artist with respect. Partners such as curators, galleries,
funders are considered as the main support structure in the creative
industries. It is important to have a good relationship and collaboration
with colleagues. Listen. Know your role.
- Respect other artists’ spaces. Do not steal attention and solicit your
own interest in your own work at someone’s arts event. Do not invade
their time and space during studio visits.
- Galleries offerings. You may encounter gallery owners dictate what
kind of artwork you make just because they sell well. Be true to your own
career, otherwise negotiating with a contract will make the situation
better.
- Gallery hopping. Do not underestimate new galleries from bigger
galleries. Small galleries will work harder for their artists. Before leaving
the gallery, make sure when you decide to leave your gallery, inventory
of artworks and good agreement is in order, the gallery returns all your
works, payments, and other documents you have in gallery.
- Be generous with others. Artists are secretive about what they know
and even avoid sharing their knowledge and information. Artists who
share their knowledge and ideas get much appreciated and gain
excellent reputation.

6
- Using artist’s images. Creating artwork that looks like someone else's
work is unethical without giving the artist any credit.
- Do not steal other people’s Ideas. There’s a saying: “Great artists
steal, but bad artists copy”. But there’s the golden rule to ponder: Steal
in the way you’d want to be stolen from, with respect, and with
transformative ideas. Instead, credit for whom you are being inspired and
influenced by other’s ideas.
- Giving Back. Give back to those organizations that supported you at the
beginning of your career once you are more established. This way they
will continue to support other emerging artists just like you. These
organizations tend not to require a percentage or take a small number
of sales, and if artwork does not sell, donate part of the sale of the work
to these organizations because they have at least spent time and money
to support you.
- Do what you are going to do. Do not be late if you are going to do
something at a certain time. Show your interest, make a phone call if you
are late.
- Avoid being so desperate in exhibiting your artwork. There are
commercial galleries that thrive asking a high percentage in selling
artworks from desperate artists. Stay smart and do not rush to sign
contracts.
- Be proactive. Working with artists who constantly complain is unhealthy
and unproductive. Instead of complaining, change your tactics. If you
have bitterness in your health, personal or family issue, or a job related
to being an artist, reflect on your career in a unique way. The world is a
place with so many obstacles and you need to work constantly around
it.
- Do not talk bad words. Your personality can have a direct effect on
whether people want to work with you. The creative workplace is a small
world, do not talk bad words about other artists because you may come
across with them in a workplace.
- Be professional. If you have an art exhibit opening, don’t be late
because people just don’t want to see your artworks but to see you
personally. Be gracious, alert and calm. Talk to critics, curators,
collectors, and others in attendance. Promote your work, meet other
people, estrangers, and make connections.
- Get Feedback. Always get feedback from rejection and criticism of your
application or submission of artwork. Be humble and courteous, ask
clarifying questions in a good manner. Do not argue with them. Do not
give up applying for art grants, other funding, and shows. Learn a lot
from these experiences.
- Be always Honest. Do not lie about your past achievements on your
resume. Don’t make sales behind your dealer’s back, and don’t lie to
collectors about your artwork. Do not misrepresent the materials that will
decompose. Disclose this to your dealer, the curator and the museum.

7
- Be aware of shady collectors. These collectors may negotiate with you
at the opening of an exhibit to get a price discount. Never sell yourself
short. Beware of this practice because it may violate your written or
implied contract with the gallery owner. Though it’s the responsibility of
the gallery to sell your artwork in their venue, send the buyer to the
dealer.
- Be aware of Editions. Editions of artwork must be declared at the time
they are created. There are laws which govern editions. Buyers must be
notified of the number of editions in writing. Do not make additional prints
or photos after you have declared the edition size of an artwork because
there are consequences of such any actions made.
- Be aware of art agents. Dealing with art agents is good but always
consider its background and experience due to market manipulation.
- Treating with established artists. Do not ask someone to recommend
you get you into a gallery. Artists have a limited number of
recommendations from the people they used to know. Just make sure
your colleague supports you and to wait for them to bring up the subject.
- Thank those who support you. As everyone likes to be thanked. Be
sure to give thanks to the curator, dealer or funder who supported you
personally. If exhibiting your work and you have a printed catalog or
notes, consider these things to say thank you who helped you in the
exhibition. If you get rejected or did not get the job, writing a thank you
note might help them remember you and that they know you have
respect for their support. You don’t have to be extravagant.
- School artwork. Galleries do not actually show artwork made in school
because they are avoiding this might be a collaboration of ideas between
faculty and peers. Galleries want to show work that is “totally yours”.
- Use signage if artwork is not appropriate to children. This is a good
way to warn parents that they are viewing an artwork which may be
disturbing or not appropriate for children.
- Documentation during the exhibit or event. It is important to notify the
audience that they are being included in the documentation show and
recording the interaction among the audience.
- The safety of your audience. Do not use materials that are harmful to
you or your audience. If you use something that might be potentially
hazards, inform the audience and the gallery.
- Privacy. Any artwork that affects the privacy of an individual must be
cleared first with the person before it is being shown. Consider how it is
being used by someone else’s image in your work, and how it may affect
both the artist and the person. Getting sued over the use of an image
should always be avoided.
- Environmental Art. When landscaping, consider not to damage flora
and fauna in the area.

8
 - Don’t make art that hurts others. Don’t take advantage of others just
to get a good image. Get permission if you use them as subjects in your
art. Make them understand what you are doing.
- Graffiti may be a good great art but consider whether it’s a private or a
public property such as fence and house wall. Always respect one's
property and how it affects other people in the community.

Emerging and less informed artists submit their portfolios to galleries, or

art professionals to achieve some sort of instant fame. Being active in an art
community and through engaging in a referral system leads mostly in the
success of artists and performers in the world of the creative industry.
Gallery owners, art directors, and assistant directors will not do a bunch
of busy work for you for free. They don’t have time to see your portfolio, critique
your art, browse your website, give suggestions, connect with you, your
curators, collectors, clients and talk on how to handle an art career with you.
These people need to know what you are like in person, and your reputation as
regarded in the creative industry.
Look for an art dealer to recommend you likewise no dealer can suggest
someone to their business clients without knowing who you are. Knowing
someone who knows your capability in producing artwork, on how you are to
work with, handle deadlines, and submitting your achievements, art portfolio to
represent you to deal with your career as an artist. Art dealers will not jeopardize
their existing business relationships and reputation by referring to strange
emerging artists. The art business works on connections and referrals.
As an emerging artist, just focus on creating art, volunteer at a local non-
profit organization, attend local lectures or symposiums, go to art events, and
exhibit openings, and engage yourself with the community. In this way, it will
open the doors to many opportunities for your career.
Engage in this creative industry, be smart, be generous, share your
talents, and practice your career as a professional artist.

Professional Practices for Artists

A. Artist Code of Ethics
- Honesty, integrity in business dealings, courtesy, disclosure of
conflicts of interest, obeying laws and regulations, truth in labeling,
accountability, and fair treatment.
- Honor contracts and agreement to which they voluntarily enter
- To be aware of the time and deadlines

B. Safety use of art materials and equipment

- Must be aware of the safe use of materials and equipment.
- Responsible not only for their own health but also for the common
good of everyone in the workplace.
- Artists should observe safety and preventive measures from health
hazards.

9
 - Artists should be aware of energy input, environment problems, use
and disposal of materials in art production.
- Should contribute to minimizing pollution and waste, organic
compound, local source of materials.
C. Employment of Studio Assistants
- In short term projects, a studio assistant may be hired on an interim
basis for his or her specific technical expertise.
- Artist and studio assistant must agree on a job contract through
verbal or written which includes services to be rendered, work
schedule, payment. Artists should consult an insurance agent
regarding coverage of working conditions.
D. Use of Copyright
- Copyright is a set of exclusive rights granted by the law of a
jurisdiction to the author or creator of an original work. It also includes
the right to copy, distribute, and adapt the work.
- Artists should obtain stronger copyright protection for their own work.
- Artists own the copyright to their work as they create it and when they
finished it.
- Artists involved in collaborative works should make an agreement
regarding copyright to protect the interest of all parties.
E. Exhibition and Sale of Artwork
- Artists should receive a written or consignment agreement from any
gallery or institution to exhibit their work.
- Artists selling works independently should use a bill of sale for record
keeping. This is to avoid misunderstanding with buyers. The bill of
sale shall cover the following:
o Artist’s name and contact information
o Date
o Title, medium, dimensions, edition of the sold artwork
o Buyer’s name and contact information
o Price and terms of payment
o Rights reserved by the artist
▪ Copyright
▪ Right to borrow work temporarily for another exhibition
▪ Right to be informed of the resale or transfer of the artwork
▪ Right to limit public exhibition of the artwork by the buyer
- Consignment Agreements
- Artist-Gallery Contracts
o Duration and Coverage. It typically lasts one to three years.
o Expenses. The contract should clearly state which expenses shall
be absorbed by the dealer or by the artist.
o Exhibitions. The contracts shall specify the number of exhibitions
to be held the term in the agreement.
o Commissions. Dealers are compensated for their efforts by the
payment of a commission on sold artworks. Contracts should be

10
 indicated that the rate of commission is at least 50% but may
depend on the bargaining between the artist and the dealer’s
services. Standard museum discount is usually 20% shared
equally by the artist and dealer.
Commissions may vary depending on the size of artwork,
artworks consigned to other dealers, multiple prints, and special
commissions.
o Sales and accounting. The artist has the right to set the prices of
his or her art works. Consultations may be done with the dealer
whose work oversees marketing. Contract should specify that the
artist will be paid not later than what is agreed after the dealer is
being paid (usually not later than 30 days or on an installment
basis).
When a work is sold, the dealer shall provide the name and
location of the buyer or collector to the artist. The artist has the
right to examine, photographed the dealer’s transaction records
and receipts of the artworks being sold.

F. Contracts for Public and Private Art Commission

- Artists have the right to fair and written contracts for any artistic or
design services which requires professional effort or have potential
commercial value.

WHAT’S MORE
Activity: Based on your experience as an art practitioner in your own field, what
are the good practices that you were able to observe during the term of your
apprenticeship? Write your response in terms of the following condition:

Note. This condition pertains to the previous competencies of apprenticeship.

Condition Good Practice and ethics observed
Collaborating with your
mentor or other people
Creating an artwork with
significant meaning and
function

Roles and responsibilities,

chain of accountability

11
 Safety and Security
procedures within the
workplace

Application of principles and

techniques in art production.

Assessment: Write T if the statement is true and F if the statement is false.

Workplace environment

1. Graffiti can be painted anywhere in a private property.

You may negotiate other people when selling your artwork in an
2.
exhibit.
3. Asking someone to recommend you in an exhibit is accepted.
It is important to notify your audience when taking a picture in a
4.
show.
Signage is presented to warn parents that they are entering a show
5.
or exhibit that may be disturbing or inappropriate to children.
Notify the audience if you use materials that may potentially
6.
hazards during a presentation.

WHAT I HAVE LEARNED

Activity: What are the professional and art ethic practices that you can apply in
your term as an apprentice? Write these words or groups of words that start
with the acronym ART ETHICS.
A
R
T

E
T
H

12
 I
C

WHAT I CAN DO
Activity:
As an art practitioner in your chosen profession in the creative industry, what
are the good practices and professional ethics an emerging artist should you
apply when building your career as an artist? Write at least two statements on
the spaces provided on the specified type of activity.

Creating Artwork in a studio

Creating Artwork in a community

Preparing your Portfolio

Opening of Art Exhibit

During the Art Event or Exhibit

13
 Additional Activity
“A culture of truly ethical behavior must be led by men and women committed
to principle for its own sake, not solely for the purpose of compliance. -Thomas
Kruase, Ph. D.

Activity. As an art apprentice in the arts of public SHS institutions, how would
you integrate professional and ethical practices across the curriculum.
Examples are already given.

Write at least two statements on the spaces provided.

Apply proper use of technology tools, social
networking, and observe netiquette whenever
there is online presentation, art production, or
TECHNOLOGY and virtual exhibit is possible.
innovation
Collaborate and coordinate with other people in
charge of technology when an art event is to be
conducted.

ENTREPRENEURSHIP

RESEARCH Work Activity

General / Advanced
MATHEMATICS

Understanding Culture, Strong sense of fairness and dealing with other

SOCIETY, and POLITICS

OTHERS:
Specify: _________

14
ASSESSMENT
Multiple Choice. Instruction. Select the correct answer under each item. Write
the letters on the spaces provided.
_____ 1. Which of the following practices should we consider when leaving
one gallery to another?
A. The inventory of artworks and good agreement is in order.
B. Leave the gallery at once when you are being paid.
C. Leave your artwork at once you are being paid.
D. All the above

_____ 2. What do you think is the best thing an artist can obtain from: “being
generous in sharing ideas and knowledge” rather than being
secretive?
A. Get much appreciated and gain excellent reputation
B. Gain more client and customers
C. Received monetary awards and recognition.
D. D. all the above

_____ 3. Which demonstrates the proper ethic in using an artist’s image when
creating artwork that looks like theirs?
A. Ignore the artist
B. Bribe the artist
C. Give credit to the artist
D. All the above

_____ 4. “Great artists steal, but bad artists copy.” What golden rule do we
ponder here?
A. Credit to whom you are being inspired and influenced by other’s
ideas.
B. Stealing other ideas is just a matter of business.
C. Stealers can’t copy creativity.
D. All the above .

______5. In conducting or producing your own solo exhibition, which of these

manifests’ professionalism?
A. Don’t be late because people want to see you personally
B. Talk to strangers, visitors, curators, collectors
C. Make connections
D. All the above

15
_____6. Which of these are part of the artists’ code of ethics?
A. You may use another artist’s image
B. Be dictated from gallery’s owner
C. Be aware of the shady collectors
D. All of the above

_____7. Which among these are the good practices of an artist when exhibiting
their artwork?
A. Foods and drinks are allowed in the exhibition
B. Use signages if artwork is not appropriate to children
C. Invite school artwork for exhibition
D. All the above

_____ 8. What would an artist consider when creating environmental art for
exhibition?
A. Consider not to damage flora and fauna in the area
B. Consider not to damage the expensive flora and fauna being
used.
C. Consider endangered species, plants, and animals as part of the
exhibition.
D. All the above.

_____ 9. Which of these are professional and good practices should an artist
be aware of?
A. The Artist Code of Ethics
B. Safety use of art materials and equipment
C. Use of Copyright
D. All the above

_____10. What must an artist be aware of when exhibiting and selling of

artwork?
A. The number of commissions the artist receives
B. Consignment Agreement
C. The pay an artist receives
D. All the Above

16
 17
What’s In (responses may vary )
What’s New ( answers may vary )
What’s More
Activity ( answers may vary )
Assessment ( F, F, F, T,T,T )
What I Have Learned ( answers may vary )
What I Can Do: ( answers may vary – see rubrics for points )
Additional Activity : ( answers may vary )
Assessment Pre-assessment
1. A
1. A
2. C
2. A
3. A
3. C
4. B
4. A
5. D
5. D
6. B
6. C
7. A
7. B
8. B
8. A
9. D
9. D
10. A
10. B
Answer Key
 REFERENCES
Art Safety”. Accessed: 12 Feb 2021. Retrieved from:
https://ehs.princeton.edu/book/export/html/334

Lerra,Thomas &Lieu, Accessed: 23 Jan 2021. Retrieved from:

https://www.realtimenetworks.com/blog/why-is-security-health-and-
safety-important-in-the-workplace Clara. https://artprof.org/teaching-
learning-art-online/art-
supplies/?fbclid=IwAR2vMPdL53oB0QJE4dBJAM8GzKrnvZFH9TYg3H
Wm5jDV8zf9_9x8jHT7OAE

Workplace Security Guide. “A Comprehensive Overview of Safety and

Security in the Workplace”. Accessed: 23 Jan 2021. Retrieved from:
https://www.getkisi.com/guides/workplace-security-awareness

Yates David W. 1 Dec 2020. “Assessing and Controlling Visual Hazards in the
Workplace”. Realtime Networks. Accessed: 23 Jan 2021. Retrieved
from: https://ohsonline.com/Articles/2020/12/01/Assessing-and-
Controlling-Visual-Hazards-in-the-Workplace.aspx?Page=1

18