7 international services where artists and arts professionals find remote work and commissions abroad

Remote art jobs are no longer just occasional commissions from social media or your own site. Far more paid options exist than most assume, and some need neither a gallery nor a regular client. An illustrator is paid per commission, a designer for remote team work. A curator or artist’s assistant, for a staff post at a museum or gallery. Residencies and open calls pay a fee outright.
Below are seven international services that gather them. For each we looked at what rarely gets written about: who actually gets hired, how much the service keeps, and which countries it can be used from. That last point decides more often than expected.
Each entry says who it suits, who it does not, and what access involves. Two or three platforms usually cover a given profile. Still, read the whole list — that is how you spot the option you had not considered.

ArtJobs
Known as a job board, ArtJobs is more than that. Alongside staff posts at museums, galleries, festivals and foundations it carries open calls, residencies and competitions — opportunities for your own practice, not only jobs. Disciplines run wide: painting, design, film, photography, dance, theatre, teaching.
Understand this up front: a notice board, not an intermediary. Applications go straight to the employer or organiser, no money passes through the site, no messaging inside. Keep copies of everything you send: nothing else will prove it later.
A good fit if: you want vacancies and open calls in one place. Email alerts filter to your disciplines, so new listings come to you.
Less suitable if: you need payment protection. ArtJobs has no payout system: fees and prizes come from the employer or organiser.
Access: browsing, searching and applying are not charged. Some open calls carry an entry fee, taken by the organiser’s site.

Call for Curators
A platform built for one profession, and that is its strength. It gathers curatorial vacancies, open calls, grants and residencies in contemporary art — listings that drown among thousands on general boards. The subscription also opens a resource centre: CV and proposal templates, application checklists, webinars on salaries and working conditions. For anyone just entering curating, that part is sometimes more useful than the listings.
A good fit if: you are building a career in curating or arts management. Especially independent and emerging curators, researchers, museum and gallery staff.
Less suitable if: you need work outside curating, or commissions for your own practice. Everything here is curatorial, and access is subscription only.
Access: the first week is free, then €3.50 a month. That covers the opportunity database and the resource centre.

Sophie Macpherson
Not a vacancy site but a recruitment agency with real screening. For over twenty years it has hired for galleries, museums, auction houses and art fairs. A consultant handling the specific vacancy reads your CV and contacts you directly. Worth noting: alongside senior posts it lists artist assistant and studio manager roles — entry-level positions that rarely appear on bigger platforms.
A good fit if: your career runs inside the arts sector. Artist assistants, studio managers, gallery and museum staff, curators, art sales specialists.
Less suitable if: you lack current permission to work in the country of the vacancy. Most openings are in the UK and the US. Visa support is not offered everywhere, and where it is, the listing says so.
Access: applications go through an agency consultant. If nothing suitable is open, your CV can stay on file.

We Work Remotely
One of the largest remote job boards, with a design section. Grasp this up front: a notice board, not a marketplace. No bids, no negotiation, no ratings, no payment protection. Everything from interview to payment runs with the employer, and vetting them is on you. Posting costs money, so real companies stand behind the ads.
A good fit if: you want a permanent remote role on an overseas team — product, UX/UI, web or brand design — with a CV and portfolio in English.
Less suitable if: you want illustration or one-off art commissions — the flow is mostly technology roles. One more trap: an “Anywhere in the World” tag often hides a condition — work rights in a specific country, or an overlapping time zone.
Access: searching, applying and a basic account are not charged, and no cut is taken from your salary. Pro is not needed for the listings.

ArtStation
Effectively LinkedIn for CG artists — a portfolio showcase where studio recruiters search the profile database themselves. Games, film, animation, VFX. The logic runs backwards here: you do not send applications, a filled-out portfolio brings offers in. What matters is tags, listed software and an availability flag. The jobs section filters by remote work, relocation support, seniority and discipline, and many listings state a salary range.
A good fit if: you work in digital CG — concept art, 3D, illustration, animation — and want studios to find you.
Less suitable if: you work in classical or contemporary art outside the digital field. The showcase is built around games, film and animation, and recruiters search along those disciplines.
Access: portfolio, job search and networking are not charged. Pro is $9.95 a month. Marketplace sales carry a 12% cut on the free tier and 5% on Pro.

Upwork
The largest freelance marketplace, running on its own logic: work is made to a client’s brief, not sold ready-made. Clients worldwide post briefs for illustration, branding, UI/UX, motion and game graphics. Payment is protected inside the service: funds are deposited up front and held until delivery. Hourly work is tracked by the platform’s time app. Among these seven platforms that is rare, and it is why many come here.
A good fit if: you want one-off paid commissions and a client base abroad. Proposals and correspondence will be in English.
Less suitable if: the platform is not available from every country. What counts is your verifiable place of residence, not your citizenship: address verification and a withdrawal account are required.
Access: the account costs nothing, but every proposal spends internal credits (Connects), unrefunded if you lose. So you spend before you earn. The contract fee runs from 0 to 15%.

Jooble
Jooble publishes nothing itself. The platform has no vacancies of its own — it pulls listings from thousands of employer and agency sites into a single search. It covers more than 60 countries and several dozen languages, so one query shows several labour markets at once. It is the fastest way to see what exists in your profession at all.
A good fit if: you want to size up a market quickly instead of visiting platforms one by one. Particularly after a move, when getting oriented matters.
Less suitable if: you want grants, residencies or a way to sell your own work. This is hiring only, and the filtering is general rather than art-specific.
Access: search by country, city, profession and work format is open straight away. To get new listings by email, save your searches and subscribe to alerts.

There is no single best service here, and that is good news. Remote art jobs come from several different sources, so the one to choose is not the loudest but yours. Staff roles at institutions are on ArtJobs and at Sophie Macpherson. Curatorial posts, grants and residencies are gathered by Call for Curators. Steady remote employment lives on We Work Remotely and ArtStation. One-off commissions come through Upwork. And Jooble catches whatever the rest miss. Better not to register everywhere. Take two or three platforms matching your profile and finish those profiles properly. On ArtStation and at Sophie Macpherson the employer comes to you, so how complete your profile is decides the outcome. On ArtJobs and Jooble everything rests on well-configured alerts. Before registering, check two things: how much the service keeps and which countries it can be used from. More often than not, those decide whether it pays off.