Hello dear readers and subscribers, welcome to our webinar on art galleries. If you would have any further questions on art galleries, we would like to hear them here in the comments. So shoot! Chat soon. All my best, Julien
Hello Julien! I would like to ask, in your opinion, what is in demand in contemporary art now? What are some tips you could give an artist in order to enter the international arena? Thanks in advance for your replies. Respectfully, Ivan
@@ivanklymenko Hi Ivan, how have you been? Great question, what is in demand in contemporary art right now always depends on the collector, be it figurative or abstract, rich in color or muted, 'horror vacui' or minimal. Al these things are in demand, but I can give you a few pointers how to be successful within any of these categories/styles. We have noticed with our artists that the ones who really have developed a personal and recognizable style do the best. So, be yourself and do it in a radical manner. Being unique will never get out of fashion. We have also seen that the more colorful artists sell a bit better. Further more, I would highly recommend you to read our full article on 'how to succeed as an artist', because besides the artworks there are other things that decide if the collector or gallery wants to through to buy your work or to collaborate with you. You can find the article via the following link: www.contemporaryartissue.com/how-to-succeed-as-a-painter-artist-everything-you-actually-need-to-know/
@@contemporaryartissue Thanks for your reply, advice and suggestions. Everything is fine with me, I'm just now planning to make a series of paintings in the figurative direction, all the materials have already been prepared - it takes time. Although in addition to this there are several series of works available in different directions: realism, impressionism, abstract art, graphic art. I am developing in different directions not to please the viewer, but really because I really like to work diversified.
Hi there Julien, as a painter starting from scratch, I want to say thank you for the invaluable resource of your videos and articles. This gives a great sense of direction as I gain confidence in finding out how to finally exhibit my portfolio!
@@dingus4546 That's terrific to hear! We are planning to present you more videos for artists how to navigate the art world and how to increase you chances for success. Happy to hear you find value in our video's, makes my day! All my best, Julien
if you are an artist you NEED to ALWAYS have a contract with the gallery. It is not a matter of trust, it is a matter of professionalism and seriousness
Hi Carvallo, not necessarily. You would be surprised how many industry-leading galleries have been working for years with some of their most established artists without a contract. Having a contract won't do you any harm of course, so if you prefer it, go for it. But it is not the most common way of working in the art world.
Great video, would have helped a lot when I was starting out. A few things on top of my head that wasn't mentioned: in the contract, there are many things to watch out for and in some cases you might feel like a lawyer going through the articles. For example, a gallerist might sneak in an exclusivity clause. I would say to artists, I know you are eager to work with a gallery and you will accept almost anything, however, read the contract VERY well, and don't be afraid to make notes of things you don't understand and things that you are concerned about, and don't be too hasty to sign. Another thing this video could have mentioned but maybe you'll do this in a future video, is how to find the right gallery, and how to approach a gallery. Finding the right gallery is not so difficult, you look for one that represents works that are in line with what you do, approaching a gallery is much different. Some don't want to be approached, some discard or never respond to your communication; and expect to be rejected 99 out of 100 communications. lol. Not fun. but anyway. Thanks for the video.
Dear Dimitri, thank you for tuning in and for your very interesting comment. Yes, couldn't agree more. In case there is a contract, read it very well and don't be pushed around because you need the gallery more than the gallery needs you. Read it very carefully, as with any contract. Yes indeed, we should make a separate video on how the find gallery representation. Here, I referred to our online article (linked in the description) where we discuss cold calling galleries and the difficult odds - which is an understatement - to find a gallery who, first looks into your submission, and secondly actually wants to represent you. However, there are many things you could do to increase these odds, and I think you have mentioned the most important thing already: finding a gallery that fits you. Both in style/substance as when it comes to the level of the gallery. To be continued in a video in the near future for sure!
Hi David, exactly, couldn't agree more. The art gallery needs to be reinvented in many ways. There is indeed a younger generation stepping into the art business, presenting a new and refreshing take not only on art but always on the gallery industry. All my best from Belgium, Julien
I’m working as a writer and I’m writing a novel where the contemporary art world is central, and your videos help me a lot with the research! Thanks a bunch, your videos are fantastic!
Dear Lena, thank you for tuning in. The pleasure is all mine; we'll most likely expand on this topic in the foreseeable future, so feel free to stay tuned. Wishing you all the best!
Julien, this is Emilio to THANK YOU for this Fantastic webinar that you have presented to us. As a Fine Art painter I want to Thank You for all and how much you are doing for the wellbeing of the Art Community and it is Such a Pleasure to listen to your videos because they are All done in the most Professional way ... a TRUE Pleasure certainly . I never had the opportunity to work or be represented by a gallery , I always had that "suspicious feeling" about them. Listening to you, Julien, what I feel is how much I would like to collaborate as an artist with the CAI GALLERY Program. You present things in that way that brings and creates a lot of Peace, Encouragement and Motivation, dynamics essential for and in the spirit of an artist. My highest respect and esteem for you, Julien. Be well ! (... missing the beautiful doggie )
Great insight. I will be opening my own gallery in a few months and I learned a few more things from this video. I will be reading more of your articles and watching your future videos. Thank you for such good information.
GREAT! Great. I follow assiduously your organization on your media because I find it serious and nourishingly instructive. Each time I look further for a new video and take side notes. As an emerging artist I only hope to be working with your gallery in the next future
Thank you for your wealth of knowledge. I am familiar with the gallery scene from Boston (Newberry Street’s Nielsen gallery) years past but I remember it well. I have a loft in the Bay Area now at the Historic Arsenal. You are providing the most detailed and prized oft protected information. My good fortune having CIA turn up on my UTube feed!. To UTubers who are watching this listen to this man and CAI. Your careers will properly advance. Saving you time and prevent you from throwing good money after bad.
I once met an association of drawing artists in London and gladly helped with their financial fund, which was simply housed in an acrylic box in a central hall of the building. I don't remember if the association charged the ticket for the exhibition or if the works were for sale. I educated my gaze a little more and continued the walk. Thanks. Nowadays I'm sure that the works exhibited have an immediate potential, in addition to the private investment and that potential is to make the public that sees them, a little more updated in the aspects of civilization.
Thank you very much for explaining what the Gallery is and the function that is professional with the artists. What is required of everyone. I always wanted to know, thoughtfully done. David m Sanders
Excellent video. Having worked with several galleries it is obvious that there is a professional way and a Half ass ( pardon my French ) way to establish relationships with artists. Yes the commission can come as a shock at first but if the gallery you work with is serious in its aims and purpose, the value becomes very quickly clear. One situation you can also think of is the new commercial gallery trying to establish itself, or a small gallery in a rural area ( like where I work and live). In such case, representation at Art fairs or book publishing is virtually unaffordable for the gallery, but as the artist you get a much more direct insight into the collector community, either because the community is small, or because you build it with the new gallery. Very exciting and again, you get to have a much more honest view of the hard work, risks that make the value of the gallery. In my corner of the world, Covid killed all the “good” galleries…they were fragile despite being dedicated to their artists and mission, but it’s a tough tough business..
For Brick and mortar galleries in difficult situations as you described, the only way out is the web, and that can be a challenge for them as well, if they are not internet savvy.
Thank you for tuning in and for this great comment. I couldn't agree more. High end representation is unaffordable for most galleries, or you would need to have the financial resources via an extern source. A reputation is build together indeed, and only on the long term you can achieve these goals .
Hi Dimitri, yes you are absolutely right. CAI Gallery is not located in a big city such as Paris, London or Brussels, and if it wasn't for the web, we would have been out of business pretty quickly.
Julien, this is Emilio to THANK YOU for this Fantastic webinar that you have presented to us. As a Fine Art painter I want to Thank You for all and how much you are doing for the wellbeing of the Art Community and it is Such a Pleasure to listen to your videos because they are All done in the most Professional way ... a TRUE Pleasure certainly 🙏 . I never had the opportunity to work or be represented by a gallery , I always had that "suspicious feeling" about them. Listening to you, Julien, what I feel is how much I would like to collaborate as an artist with the CAI GALLERY Program. You present things in that way that brings and creates a lot of Peace, Encouragement and Motivation, dynamics essential for and in the spirit of an artist. My highest respect and esteem for you, Julien. Be well ! (... missing the beautiful doggie 🙂 )
Dear Emilio, thank you for your most kind words and tuning in for our webinar. Don't be too suspicious to work with galleries, be aware of the key indicators we have pointed out in our webinar to find a 'good' gallery and your career will prosper when finding the right gallery to work with. Concerning a collaboration with CAI Gallery, our gallery program is by invitation only. We used to review unsolicited artist submissions, but now we have around 30 submissions every week so it has become impossible to review them all, otherwise we wouldn't get any work done. When it comes to our selection process, we invite artists based upon (i) objective art scientific facts and career trends (ii) the relevance of the artist in question in relation to the contemporary art scene (iii) a subjective analyses of an advisory board of experts, such as art historians, writers and other actors active in the working field. PS: the beautiful doggie will be back in our next video for sure! All my best, Julien
@@contemporaryartissue Thank you very much, Julien for sharing the needed requirements to consider when thinking about submitting to a prestigious commercial gallery like yours. This insight makes even better the understanding that we need to have when planning on that possibility. In my particular case, to immigrate to United States was very hard ... very. However I graduated with Highest Honors in the Associate level, I didn't have the opportunity to developed my professional career as an artist. I didn't renounce to pursuing my dream and I am doing it now and when listening to people like you, my dream immediately wants to know more about that great possibility. You are a Very important source of information so I will be there tuning in, happy to see that the beautiful doggie is also an artistic doggie 🙂 . All the best for you, Julien and for CAI GALLERY ! Blessings, Emilio
@@emiliopoljanec9006 What a wonderful story, all my respect to you too! Feel free to keep my posted on how you are doing in the comments of one of our next video's, happy to get acquainted. Chat soon in our next video. All the best from myself and Perrier (my dog)
Very informative video, clear and well done. As an artist always I need to learn more to understand where I need to do next. Thanks so much for sharing it.
I was in contact with two vanity art galleries and I am totally agree with you they really don´t pay attention to the quality of the art work and don´t expect any promotion from their counterpart. I really don´t recommand them even if you are an emergent artist. Artist run galleries are by far better than vanity art galleries.
Yes, you're absolutely right. Artist-run exhibitions or galleries are a far better option to gain some experience and exposure. Avoid vanity art galleries at all costs (pun intended).
A lot of really interesting facts and perspectives I don’t really understand the preference to not work under contracts though. It gives both parties piece of mind
So glad I found your channel. Very informative! What are the rules on works not exhibited in a particular gallery exhibit if a collector at said exhibit should inquire about a direct sale? Would the gallery still be entitled to a cut? Hope that question makes sense. Thank you.
The “vanity gallery”and the “exhibition space” sound like the same thing. In practice the Commercial gallery doesn’t do “everything else” there is a big difference between hard working galleries that really work for their artists and other galleries, that expect the artist to do much more. Thanks for the video
The difference between a vanity art gallery and exhibition spaces is first and foremost the price-which is a lot higher with the vanity art galleries-while having less control about the show. Concerning the commercial art gallery, there are indeed galleries-most often less established-that do not take care of the full package. Thank you for tuning in and for your contribution here in the comment section!
Thanks for your series -so much helpful info. Will you consider doing a piece on how emerging artists should price their works? That would be great if so. Cheers.
Congrats for your excellent series of introductory videos. I guess you want to keep it simple and in tune with the likely mindset of your target audience, ie, aspiring artists who still have to understand the difference between making art and selling it - the transition from what the artist thinks s/he's doing and what the rest of the world thinks about it, aka the art market. In your defense of the 50/50 revenue split, you could have gone a step further by explaining that gallerists "create" the art and the artist as much as the artist's own mother. Since the advent of modern art, the role of gallerists to open the way for new movements is well documented, and it could be said - though a simplification - that it is in fact the gallerists that make the art, as they are the ones who "open the eyes" of collectors and curators by signalling what should be considered "art". You can call it inventing, discovering, curating or marketing, but behind all successful artists - including the giants - there was a gallerist. Young artists may resist the idea that their production needs to be marketed to be in effect recognized and labelled "art", but when then how do you call an activity that requires selling an object if not a market, and how can you sell this object on this market if only the producer thinks it's art? Of course, there's more to this, and the question of what is art and how much does it overlap with the art market is a topic of constant - and fun - debate. But let's be clear that collectors "buy" as much the art as the gallery that features it. Name recognition, size, and even price range of a gallery provide a range a signals that collectors take as much into account in their own evaluation as what they might perceive of the intrinsic artistic value of a piece. In that sense, the gallerist provides collectors a badge of authenticithy or a sense of confidence that they are indeed buying art. And just to shake up some naive assumptions, you could remind your audience that there's not that much difference in the mechanics required to launch the career of an artist and create a successful boys bands in the music industry. Viewed that way, the 50/50 revenue split sounds rather generous. :-)
Dear Boris, thank you very much for taking the time to write down this valuable comment. I entirely agree. All artists need someone supporting them to become successful - a gallerist. Otherwise, there is a very problematic role conflict when the artist is the one who needs to convince the buyer. Thank you for your kind words and hoping to see more of your comments in the future on our channel. Have a great day!
Thank you. Lots of information. What is typical to happen if the large Gallery arranges a publication… doesbb be the artist and gallery go 50.50 on these sales please? Publishing books is generally costly too. Thank you.
@@contemporaryartissue in deed! I really live in paradise by my choice. I miss events like exhibitions and concerts but you, and other people, dedicated to art like you, feeding my soul. thank you so much for your deep devotion to the art world . love and peace to all Be Great in every single particle of you!
And yet, they have to co-exist. The business world keeps the art world running. However, as an artist, decent gallery representation will enable you to only focus on the artistic side of things.
first thank you for all of the webinars you have had they are very interesting. Is your gallery a mega gallery and also how do you chose the artists you represent. thanks again
Hi Lori, thank you for tuning in. I really appreciate your most kind words, makes my day. Concerning your question: First, we are not a mega-gallery. We are - for now - a small to medium sized gallery aiming to grow steadily and always thinking on the long term. As we are also a platform and publisher, CAI has a lot more things to do than just working as a gallery, so we prefer to grow slowly but steady on all platforms, which is actually working really well up to now. When it comes to our selection of artist, due to the interdisciplinary character of Contemporary Art Issue, CAI Gallery is able to implement a kaleidoscopic approach rethinking the curatorial practice of a gallery for contemporary art, distinguishing itself from other galleries. The acquired research results, knowledge and art scientific data of the CAI platform is translated into a carefully curated exhibition program and selection of artists. Thank you once again for tuning in and for the interesting questions. Greetings from Belgium, Julien
@@loriwakefield1 Hi Lori, the pleasure is all mine. My response to your question on how we choose the artists to represent was this part of my comment: "When it comes to our selection of artists, due to the interdisciplinary character of Contemporary Art Issue, CAI Gallery is able to implement a kaleidoscopic approach rethinking the curatorial practice of a gallery for contemporary art, distinguishing itself from other galleries. The acquired research results, knowledge and art scientific data of the CAI platform is translated into a carefully curated exhibition program and selection of artists. Thank you once again for tuning in and for the interesting questions." So, in short, we combine objective art scientific search results, follow up on interesting tendencies in contemporary art, and we evaluate the artists with our advisory board to have a subjective take on the artists as well. When all aspects were positive, we invite the artist in question.
Very interesting and informative video. A couple of points that were not covered and I would be interested in knowing are: if I go to a first tier commercial gallery and want to purchase a work (I have the funds) it does not necessarily mean that I can buy the work. My understanding is that commercial galleries will only sell to 'established' collectors. Secondly, some galleries have shows that are purely exhibitions, much like a museum show (example Pace-I think it was- did a Picasso show a few years ago.) Many of the works were owned by private individuals. How does a gallery make money on a show such as this? Perhaps it is just building up their reputation.
Hi George, thank you for tuning in once again and for two very good questions that indeed were not covered in the video. Concerning your first question, you are absolutely right. Top tier galleries only sell to renowned collectors and institutions. The reason why is to avoid to sell to opportunistic buyers, who buy an artwork to resell it again with profit on the secondary market a few months/years later. Further more, these galleries have so much clientele and so much demand for their artworks, they are in the privileged position to deny private collector if his or her collection is not prestigious enough. Most often, collectors need to prove themselves by first buying works from their emerging artists before getting access to buy anything from the established artists. A great business model, but also not the most democratic model to say the least. Concerning your second question, these shows happen much more in comparison to 15 years ago. The main reason is because the mega-galleries such as Pace have the ambition to be more than a commercial enterprise, they want to be an institution. Lately, some of the new goals of galleries are also to educate the public opinion, resulting in major publishing activities, both online and in print. They have enough funds to this, they indeed achieve a great deal of prestige and often they have corporate sponsors joining in on the party resulting in a positive return on investment. In short, the mega-galleries are taking over the role of the institutions, aiming to take over their position of power of knowledge and authority. I hope this answers your question, thank you once again and have a great day! All my best, Julien
Thank you so much for the video and it’s very enlightening. My question is: Are the gallery only entitled to sell the specific artwork of the artist in the exhibition, or the artist’s other artworks not displayed are also included in the commission contract? Say if a collector want to buy the undisplayed artwork, is it okay for the artist to sell directly to the collector without the gallery? Thank you and looking forward to your reply. 😊
Thank you for this video it’s helped tremendously. I was just approached by a gallery (first time) and I wasn’t sure what to expect. Your video answered most of my questions and has pointed me in the right direction and hopefully on my way to my first photography exhibit. Thanks for the great content!
Thank you for a great summary in this video. I have a question, is there a practice to be represented by different galleries in different regions/countries if you are not collaborating with a mega gallery? And the work the gallery doing is only doing the curating only locally, countrywide. How would you suggest to define the split of sales between gallery and the artist, in case gallery represent your works in e.g Belgium => few countries around, on you get noticed and approached by private collectors in US because of your social networks presence. Thank you
I was in a gallery that would not reveal who the buyers are as they didn't trust artists to not sell behind their back. I found it frustrating that the buyers of my work were anonymous to me. Is this common?
Hi there, thank you for tuning in. Very good question and the answer is yes; it is very common. It has happened too often galleries invest in hosting a show, and the collectors try to get a good deal by buying directly from the artist. Or the other way around, the artist wants a bigger cut of the sale, so they want direct contact with the client. By doing so, the gallery created the lead after a lot of work and investments and possibly being cut out, so it is kind of a sensitive subject. Further, in any business, people don't like to share the details of their clients to avoid poaching. Hope this might help!
I am unclear about what sort of exclusivity is expected. You say that it's not acceptable to sell directly if someone saw your work at a gallery, but also that most agreements are not exclusive. So is the exclusivity just for specific works for a specific time? If a work is in a gallery for a long time and doesn't sell, can the artist take it back and later sell it as they wish? Can the artist put some work in a gallery and sell some elsewhere?
With exclusive agreements, I mean that you are not allowed to work with anyone else than one particular gallery. This is something to avoid especially in the early stages of your career. So indeed, the works are specifically for the gallery to sell during the exhibition. The artwork remains yours, so you are free to sell it yourself after the show.
I think it's every artists dream (mine included) to be shown by a gallery. Though there are some factors that cause me concern. 1, Galleries need artists. Not artists need galleries. 2, The jump from being a "nobody" to actually getting accepted by a gallery seems so extreme. Like why do I feel the need to beg and plead with a gallery when they need us? 3, Along those same lines, galleries are elusive. We don't know how to approach them or if they approach us, if we'll be laughed at for not knowing something we're supposed to, etc. Artists feel like the options are be ripped off by a bad gallery that actually accepts them, or somehow be in the right circles. Like expensive art schools, rich connections etc. This is purely based off of impressions I've gotten. Of course I'd love to make a strong connection in gallery communities!
Hi Lady Liddie, thank you for tuning in. I believe galleries need artists, and artists need galleries. The thing is, as there are more galleries then there are artists, there are more artists in need of a gallery then there are galleries in need of new artists. This is a very logical result, making it of course difficult for artists to get into galleries. However, never beg and plead with an art gallery, even though you need them. This won't be appreciated. They will invite you if everything is right and you are the right fit. Feel free to read our article on how to succeed as an artist for more information: www.contemporaryartissue.com/how-to-succeed-as-a-painter-artist-everything-you-actually-need-to-know/
I'm in a gallery...and I've been in a couple now! I had to leave one in the past. The owners were toxic. As a result, it's more important to me as an artist that the contracts are made...and followed. The owner is invested in the art gallery because they genuinely want to help artists make a living and not just, the owners are wanting to get rich off my work. They like me, and not just what I can do for them. It's absolutely a relationship...just like you are dating someone. It's a TWO way street, not a one way. Find people that work WITH you. The gallery needs the artist more than the other way around. In the day of social media/internet, you can absolutely make money apart from galleries as an artist. You can teach art classes locally, you can teach art classes online, you get most of your clients through word-of-mouth...etc. I can go on for HOURS. Actually, if you are in a gallery, I recommend branching out. If that gallery goes belly up, you will want other sources of income.
I know a handful of emerging artists who have also dabbled in curating art shows such as community art centers and exhibition spaces. In the case with the art center exhibition, the art center controlled the financing (I’m not sure if the art was actually for sale at the art center). In the case of the artist/curator run show, I think the financing and selling was a collaboration between artist and curator. I think the main goal of these exhibitions was to showcase the art and spotlight the artists, not necessarily to sell the art at the shows, however, I think there was the potential for someone to purchase the art, but I’m not sure. I don’t know if this is an emerging trend and I am curious of your thoughts on the potential of these types of arrangements, where the gallery is eliminated, and maybe the independent curator replaces the roles of the gallery, maybe in collaboration with the artists-like an artist curator cooperative.
Dear Karl, thank you for tuning in and for an interesting question. It all depends on the type of entity where the exhibition takes place. I recently published a two video series on the art world explained discussing all the different types of entities in the art world, including exhibition oriented entities from museums to galleries, art spaces to art events. Art centers are indeed more focused showing the art instead of selling, because everything is already financed via public funds or a patron of the arts. Great for critical recognition but not great to generate revenue for the artists. With art galleries, they have to sell to fund the exhibition in the first place. As a result, they are more motivated to promote sales, which is both good for the artist, and for the public-as it doesn't cost the public any money as the gallery director funds everything with their business. Curators won't replace galleries, but they both play an important role and very often work together.
I wonder if an artist finds the art gallery traditional ways more true to them (as it seems supportive, respected in very academic research style ) but doesn't want to look like a seller but wants to genuinely give away their art with lil money to close people or associates who finds their work. I think that's not selling yourself right? Sometimes an artist just wanna give away from their heart maybe because they believe artist is a man of society. Not attaching the art to themselves but to the humanity. I like that idea alot:)
Very good video - from an artist perspective. Is a gallery contract (or agreement) usually exclusive? Or can I have more than one gallery, e.g. in different countries?
Dear Martin, thank you for tuning in. Most gallery contracts/agreements are not exclusive. You can have multiple galleries in different countries. If they do want exclusivity, make sure the gallery is able to offer you a solo exhibition (bi-)annually and sells +25% of your produced artworks. If they cannot fulfill these two things, than I would advise you not to work with exclusivity with a particular gallery
Great video! Do you have a suggestion on what to say to a client that approaches the artist directly? What should be said to involve the gallery in the sale and not offend the client?
Hi Miriam, thank you for tuning in and for your great question. If the client approaches you by mail, I would advise to respond to the email with the catalogue of your works from the gallery and add the gallery contact in CC, mentioning they will take care of everything so you can finalize the sale together by mail. If the artist contacts you directly via instagram or by phone, you could ask for an email address and that your gallery will provide them as soon as possible the catalogue with available works and assist them further. I believe this is the best practice. If the client only wants to have contact with you, sure you can complete the sale directly, but have the gallery do the invoicing for instance. Transparent communication is key to avoid any possible conflict with both the client and your gallery
If you are the gallerist, then it means you have no secure agreement with your artist. Any artist that gets a direct request from a collector would know where it came from and tell them to continue with the gallerist.
What about galleries that buys the artwork from the artist themselves? It's very hard to find any art galleries who buys artwork from artists and then resell with a royalty percentage going to the artist. Do you know of any galleries that function in this way?
Ooh- I just thought of a question. How does a gallery mitigate the fact that artists can sell their artwork on so many different websites and don't need the gallery to be in the middle? How does a small upstart show that it is worth it to the artists to sell with the gallery?
Hi Desiree, that's a great question. The gallery can provide a better service than for instance Saatchi or Singulart. These online market places for artists do not do anything - or very little to promote the artists in question. However you as a gallerists will actively support, represent, promote and sell their works. But of course, if you do not provide the lead for the sale, especially as a small gallery, then it is of course logical the sale does not go through the gallery.
What would be your advice to a gallery in South America, representing local artists, and promoting them on an international platform such as Artsy in the USA? Same query from the artists´point of view.
Hi there, thank you for tuning in. I would certainly advise to aim to reach an international audience as well. The web is a great and cost-efficient place to start. Artsy is of course very interesting to find new leads and for your general online exposure. Art fairs in other continents is another great way to widen your audience. Become a global brand instead of being a local exhibition space is the most important objective
I am an artist who just started up an art gallery here in Abu Dhabi but facing a lot of challenges in sells. I also just turned into a full time artist in 2020 during the covid-19 pandemic. I am looking for all your support and advice to help me grow as an artist and also as a gallery
Hi Queroz Art Gallery, wishing you all the best for your endeavours! I believe there is more information be found on our website, feel free to have a look, and stick around for our future videos. Chat later!
Hi Martin, do you mean how can we price artworks by beginner/emerging artists? We have written an extensive take on this subject in our article on how to succeed as an artist (chapter 5). Feel free to give it a read here: www.contemporaryartissue.com/how-to-succeed-as-a-painter-artist-everything-you-actually-need-to-know/
Hi Erika, thank you for tuning in and for your good question. Sadly, there are more artists looking for representation than there are galleries looking for new artists to represent. We have written many pointers on this topic in our article on how to succeed as an artist. So feel free to read chapter 8 and 9 in particular, I believe the most important aspects are covered in just a few paragraphs: www.contemporaryartissue.com/how-to-succeed-as-a-painter-artist-everything-you-actually-need-to-know/
Hi there, thank you for tuning in. An emerging artist should definitely do Instagram! It is a great way to link up with other artists, collectors and galleries. You would be surprised how many collectors and galleries look for new artists on instagram, it is by far the most powerful social media platform in the art world. UA-cam isn't the best choice in my opinion, as it is still frowned upon for artist to promote themselves which UA-cam is, where instagram is just a personal blog, as if a happy.
Good point 😅 It's a certain dress code for many people in the cultural sector. I have done it myself in fact many times but I have no idea why to be honest.
Let's retire the term "one-man" show. It is bad enough that women have not made much progress in the art world between 70s to now. Can we at least point to where we wish to go?
Solo exhibition is the most correct term for sure, and most used as well in the art world. And I do believe there has been a great deal of progress concerning women in the art world!
Hello dear readers and subscribers, welcome to our webinar on art galleries. If you would have any further questions on art galleries, we would like to hear them here in the comments. So shoot! Chat soon. All my best, Julien
Hello Julien!
I would like to ask, in your opinion, what is in demand in contemporary art now? What are some tips you could give an artist in order to enter the international arena?
Thanks in advance for your replies.
Respectfully,
Ivan
@@ivanklymenko Hi Ivan, how have you been? Great question, what is in demand in contemporary art right now always depends on the collector, be it figurative or abstract, rich in color or muted, 'horror vacui' or minimal. Al these things are in demand, but I can give you a few pointers how to be successful within any of these categories/styles. We have noticed with our artists that the ones who really have developed a personal and recognizable style do the best. So, be yourself and do it in a radical manner. Being unique will never get out of fashion. We have also seen that the more colorful artists sell a bit better. Further more, I would highly recommend you to read our full article on 'how to succeed as an artist', because besides the artworks there are other things that decide if the collector or gallery wants to through to buy your work or to collaborate with you. You can find the article via the following link: www.contemporaryartissue.com/how-to-succeed-as-a-painter-artist-everything-you-actually-need-to-know/
@@contemporaryartissue Thanks for your reply, advice and suggestions. Everything is fine with me, I'm just now planning to make a series of paintings in the figurative direction, all the materials have already been prepared - it takes time. Although in addition to this there are several series of works available in different directions: realism, impressionism, abstract art, graphic art. I am developing in different directions not to please the viewer, but really because I really like to work diversified.
Hi there Julien, as a painter starting from scratch, I want to say thank you for the invaluable resource of your videos and articles. This gives a great sense of direction as I gain confidence in finding out how to finally exhibit my portfolio!
@@dingus4546 That's terrific to hear! We are planning to present you more videos for artists how to navigate the art world and how to increase you chances for success. Happy to hear you find value in our video's, makes my day! All my best, Julien
if you are an artist you NEED to ALWAYS have a contract with the gallery. It is not a matter of trust, it is a matter of professionalism and seriousness
Hi Carvallo, not necessarily. You would be surprised how many industry-leading galleries have been working for years with some of their most established artists without a contract. Having a contract won't do you any harm of course, so if you prefer it, go for it. But it is not the most common way of working in the art world.
Most of the famous artists of pivotal periods never had contracts with art galleries.....
Great video, would have helped a lot when I was starting out. A few things on top of my head that wasn't mentioned: in the contract, there are many things to watch out for and in some cases you might feel like a lawyer going through the articles. For example, a gallerist might sneak in an exclusivity clause. I would say to artists, I know you are eager to work with a gallery and you will accept almost anything, however, read the contract VERY well, and don't be afraid to make notes of things you don't understand and things that you are concerned about, and don't be too hasty to sign. Another thing this video could have mentioned but maybe you'll do this in a future video, is how to find the right gallery, and how to approach a gallery. Finding the right gallery is not so difficult, you look for one that represents works that are in line with what you do, approaching a gallery is much different. Some don't want to be approached, some discard or never respond to your communication; and expect to be rejected 99 out of 100 communications. lol. Not fun. but anyway. Thanks for the video.
Dear Dimitri, thank you for tuning in and for your very interesting comment. Yes, couldn't agree more. In case there is a contract, read it very well and don't be pushed around because you need the gallery more than the gallery needs you. Read it very carefully, as with any contract. Yes indeed, we should make a separate video on how the find gallery representation. Here, I referred to our online article (linked in the description) where we discuss cold calling galleries and the difficult odds - which is an understatement - to find a gallery who, first looks into your submission, and secondly actually wants to represent you. However, there are many things you could do to increase these odds, and I think you have mentioned the most important thing already: finding a gallery that fits you. Both in style/substance as when it comes to the level of the gallery. To be continued in a video in the near future for sure!
@@contemporaryartissuefhbhhhhhhhkkiiokio9kkll 14:51 loo[-
I like to see a younger generation stepping into the business of art as brings new prospectives
Hi David, exactly, couldn't agree more. The art gallery needs to be reinvented in many ways. There is indeed a younger generation stepping into the art business, presenting a new and refreshing take not only on art but always on the gallery industry. All my best from Belgium, Julien
As an artist I agree that times will change :) in the art world
Art galleries are a club most great artists are excluded from.
@@contemporaryartissue
U just answered your own question/ let that sink in
@@harrylynch8226
Think before u text; u already know the answer
Thank you for sharing. I can't wait to get my own Art Gallery here in Jamaica.
I’m working as a writer and I’m writing a novel where the contemporary art world is central, and your videos help me a lot with the research! Thanks a bunch, your videos are fantastic!
Thank you for this video. I'm a young art history student, who wants to work in the art gallery business and is so happy to get this knowledge.
Dear Lena, thank you for tuning in. The pleasure is all mine; we'll most likely expand on this topic in the foreseeable future, so feel free to stay tuned. Wishing you all the best!
Julien, this is Emilio to THANK YOU for this Fantastic webinar that you have presented to us.
As a Fine Art painter I want to Thank You for all and how much you are doing for the wellbeing of the Art Community
and it is Such a Pleasure to listen to your videos because they are All done in the most Professional way ...
a TRUE Pleasure certainly .
I never had the opportunity to work or be represented by a gallery , I always had that "suspicious feeling" about them.
Listening to you, Julien, what I feel is
how much I would like to collaborate as an artist with the CAI GALLERY Program.
You present things in that way that brings and creates a lot of Peace, Encouragement and Motivation, dynamics essential for and in the spirit of an artist.
My highest respect and esteem for you, Julien.
Be well !
(... missing the beautiful doggie )
I utterly appreciate your insightful knowledge! Super educational and structural.
Thank you for your most kind words, I appreciate it. The pleasure is all mine
Glad to see you again and thanks for the webinar, informative.
Happy to connect once more, thank you!
Great insight. I will be opening my own gallery in a few months and I learned a few more things from this video. I will be reading more of your articles and watching your future videos. Thank you for such good information.
That's great to hear. Wishing you all the best and feel free to reach out whenever you want! Thank you for tuning in!
Your videos are just perfect. Thank you once again for another great video and explanation.
Hi Konstantinos, how have you been? The pleasure is all mine, thank you for tuning in again! All my best, Julien
GREAT! Great. I follow assiduously your organization on your media because I find it serious and nourishingly instructive. Each time I look further for a new video and take side notes. As an emerging artist I only hope to be working with your gallery in the next future
That's great to hear, makes my day! All my best, Julien
Thank you for your wealth of knowledge. I am familiar with the gallery scene from Boston (Newberry Street’s Nielsen gallery) years past but I remember it well. I have a loft in the Bay Area now at the Historic Arsenal. You are providing the most detailed and prized oft protected information. My good fortune having CIA turn up on my UTube feed!. To UTubers who are watching this listen to this man and CAI. Your careers will properly advance. Saving you time and prevent you from throwing good money after bad.
Thank you so much for your must kind words! 🙏
I once met an association of drawing artists in London and gladly helped with their financial fund, which was simply housed in an acrylic box in a central hall of the building.
I don't remember if the association charged the ticket for the exhibition or if the works were for sale.
I educated my gaze a little more and continued the walk. Thanks.
Nowadays I'm sure that the works exhibited have an immediate potential, in addition to the private investment and that potential is to make the public that sees them, a little more updated in the aspects of civilization.
Dear Vicente, thank you for tuning in and for your interesting comment. The pleasure is all mine! Best wishes from Belgium, Julien
Nicely structured summary for those seeking to characterise industry norms - thankyou for putting it together
The pleasure is all mine, thank you for tuning in! All my best, Julien
Truly a very good information about the ways galleries work and collaborate with artists - very informative 🌷❤️
The pleasure is all mine, thank you for tuning in and for your most kind words.
Very educational video! Learned a lot about galleries and how they work. Defiantly I am more aware of what type of galleries to approach.
Thank you so much for tuning in and for taking the time to write those kind words. Make sure to watch our video on how to approach galleries as well!
Thank you for helping the new artist 🎉
The pleasure is all mine! Thank you for tuning in
Thank you very much for explaining what the Gallery is and the function that is professional with the artists. What is required of everyone.
I always wanted to know, thoughtfully done. David m Sanders
Dear David, the pleasure is all mine. Thank you for tuning in
Excellent video. Having worked with several galleries it is obvious that there is a professional way and a Half ass ( pardon my French ) way to establish relationships with artists. Yes the commission can come as a shock at first but if the gallery you work with is serious in its aims and purpose, the value becomes very quickly clear. One situation you can also think of is the new commercial gallery trying to establish itself, or a small gallery in a rural area ( like where I work and live). In such case, representation at Art fairs or book publishing is virtually unaffordable for the gallery, but as the artist you get a much more direct insight into the collector community, either because the community is small, or because you build it with the new gallery. Very exciting and again, you get to have a much more honest view of the hard work, risks that make the value of the gallery. In my corner of the world, Covid killed all the “good” galleries…they were fragile despite being dedicated to their artists and mission, but it’s a tough tough business..
For Brick and mortar galleries in difficult situations as you described, the only way out is the web, and that can be a challenge for them as well, if they are not internet savvy.
Thank you for tuning in and for this great comment. I couldn't agree more. High end representation is unaffordable for most galleries, or you would need to have the financial resources via an extern source. A reputation is build together indeed, and only on the long term you can achieve these goals .
Hi Dimitri, yes you are absolutely right. CAI Gallery is not located in a big city such as Paris, London or Brussels, and if it wasn't for the web, we would have been out of business pretty quickly.
Julien, this is Emilio to THANK YOU for this Fantastic webinar that you have presented to us.
As a Fine Art painter I want to Thank You for all and how much you are doing for the wellbeing of the Art Community
and it is Such a Pleasure to listen to your videos because they are All done in the most Professional way ...
a TRUE Pleasure certainly 🙏 .
I never had the opportunity to work or be represented by a gallery , I always had that "suspicious feeling" about them.
Listening to you, Julien, what I feel is
how much I would like to collaborate as an artist with the CAI GALLERY Program.
You present things in that way that brings and creates a lot of Peace, Encouragement and Motivation, dynamics essential for and in the spirit of an artist.
My highest respect and esteem for you, Julien.
Be well !
(... missing the beautiful doggie 🙂 )
Dear Emilio, thank you for your most kind words and tuning in for our webinar. Don't be too suspicious to work with galleries, be aware of the key indicators we have pointed out in our webinar to find a 'good' gallery and your career will prosper when finding the right gallery to work with. Concerning a collaboration with CAI Gallery, our gallery program is by invitation only. We used to review unsolicited artist submissions, but now we have around 30 submissions every week so it has become impossible to review them all, otherwise we wouldn't get any work done. When it comes to our selection process, we invite artists based upon (i) objective art scientific facts and career trends (ii) the relevance of the artist in question in relation to the contemporary art scene (iii) a subjective analyses of an advisory board of experts, such as art historians, writers and other actors active in the working field.
PS: the beautiful doggie will be back in our next video for sure!
All my best, Julien
@@contemporaryartissue
Thank you very much, Julien
for sharing the needed requirements
to consider when thinking about submitting to a prestigious commercial gallery like yours.
This insight makes even better the understanding that we need to have when planning on that possibility.
In my particular case, to immigrate to United States was very hard ... very.
However I graduated with Highest Honors in the Associate level, I didn't have the opportunity to developed my professional career as an artist.
I didn't renounce to pursuing my dream and I am doing it now and
when listening to people like you,
my dream immediately wants to know more about that great possibility.
You are a Very important source of information so I will be there tuning in,
happy to see that the beautiful doggie is also an artistic doggie 🙂 .
All the best for you, Julien
and for CAI GALLERY !
Blessings,
Emilio
@@emiliopoljanec9006 What a wonderful story, all my respect to you too! Feel free to keep my posted on how you are doing in the comments of one of our next video's, happy to get acquainted. Chat soon in our next video. All the best from myself and Perrier (my dog)
This is such great information, and very clearly presented. Thanks very much.
Thank you so much, Ken!
Good advice on how to protect yourself out there.
Very informative and beginners friendly!
Thank you!
VERY valuable and informative. Thank you.
The pleasure is all mine, thank you for tuning in!
Thanks, thanks, thanks for this 💜🌻💜
The pleasure is all mine! Thank you for tuning and have a great day
This was very informative! Thank you!
The pleasure is all mine, thank you for tuning in!
Thank you for the great information and explanation. insightful🤔
The pleasure is all mine, thank you for tuning in!
Nice. 👍
Thank you so much for information as new artist
The pleasure is all mine. Happy you have found value in the video, more to come! Thank you for tuning in
Very informative video, clear and well done. As an artist always I need to learn more to understand where I need to do next. Thanks so much for sharing it.
The pleasure is all mine! Thank you for tuning in and wishing you the very best
@@contemporaryartissue Subscribed :)
Great webinar
Thanks 🙏
Thank you so much for sharing this. It helps me a lot to narrow down the market.
Great content! Thanks for sharing!
Thank you for your most kind words, appreciated!
This is wonderful I just subscribed. Thank you for your content.
Valeu!
Thank you so much! You're the best!
Great piece
Big thanks!
AWESOME! Thanks for showing.
Thanks for all this resume information very usefull
I was in contact with two vanity art galleries and I am totally agree with you they really don´t pay attention to the quality of the art work and don´t expect any promotion from their counterpart. I really don´t recommand them even if you are an emergent artist. Artist run galleries are by far better than vanity art galleries.
Yes, you're absolutely right. Artist-run exhibitions or galleries are a far better option to gain some experience and exposure. Avoid vanity art galleries at all costs (pun intended).
Excellent info... Thank you much Sir...
The pleasure is all mine! Thank you for tuning in
Very good video!
Thank you so much!
A lot of really interesting facts and perspectives
I don’t really understand the preference to not work under contracts though. It gives both parties piece of mind
Great information am interested to work as the gallery artist
So glad I found your channel. Very informative! What are the rules on works not exhibited in a particular gallery exhibit if a collector at said exhibit should inquire about a direct sale? Would the gallery still be entitled to a cut? Hope that question makes sense. Thank you.
Insightful. I got value.
The “vanity gallery”and the “exhibition space” sound like the same thing. In practice the Commercial gallery doesn’t do “everything else” there is a big difference between hard working galleries that really work for their artists and other galleries, that expect the artist to do much more. Thanks for the video
The difference between a vanity art gallery and exhibition spaces is first and foremost the price-which is a lot higher with the vanity art galleries-while having less control about the show. Concerning the commercial art gallery, there are indeed galleries-most often less established-that do not take care of the full package. Thank you for tuning in and for your contribution here in the comment section!
Thanks for your series -so much helpful info. Will you consider doing a piece on how emerging artists should price their works? That would be great if so. Cheers.
Dear Mellow, that's an absolutely terrific suggestion. We have taken note and will certainly make such a video in the foreseeable future. Thank you!
@@contemporaryartissue Great. Look forward to it!
Congrats for your excellent series of introductory videos. I guess you want to keep it simple and in tune with the likely mindset of your target audience, ie, aspiring artists who still have to understand the difference between making art and selling it - the transition from what the artist thinks s/he's doing and what the rest of the world thinks about it, aka the art market. In your defense of the 50/50 revenue split, you could have gone a step further by explaining that gallerists "create" the art and the artist as much as the artist's own mother. Since the advent of modern art, the role of gallerists to open the way for new movements is well documented, and it could be said - though a simplification - that it is in fact the gallerists that make the art, as they are the ones who "open the eyes" of collectors and curators by signalling what should be considered "art". You can call it inventing, discovering, curating or marketing, but behind all successful artists - including the giants - there was a gallerist.
Young artists may resist the idea that their production needs to be marketed to be in effect recognized and labelled "art", but when then how do you call an activity that requires selling an object if not a market, and how can you sell this object on this market if only the producer thinks it's art? Of course, there's more to this, and the question of what is art and how much does it overlap with the art market is a topic of constant - and fun - debate. But let's be clear that collectors "buy" as much the art as the gallery that features it. Name recognition, size, and even price range of a gallery provide a range a signals that collectors take as much into account in their own evaluation as what they might perceive of the intrinsic artistic value of a piece. In that sense, the gallerist provides collectors a badge of authenticithy or a sense of confidence that they are indeed buying art.
And just to shake up some naive assumptions, you could remind your audience that there's not that much difference in the mechanics required to launch the career of an artist and create a successful boys bands in the music industry. Viewed that way, the 50/50 revenue split sounds rather generous. :-)
Dear Boris, thank you very much for taking the time to write down this valuable comment. I entirely agree. All artists need someone supporting them to become successful - a gallerist. Otherwise, there is a very problematic role conflict when the artist is the one who needs to convince the buyer. Thank you for your kind words and hoping to see more of your comments in the future on our channel. Have a great day!
Thank you.
The pleasure is ours, thank you for tuning in!
Thank you. Lots of information. What is typical to happen if the large Gallery arranges a publication… doesbb be the artist and gallery go 50.50 on these sales please? Publishing books is generally costly too. Thank you.
this is a great Video - thank you!
thanks for this nice informative video. I wish you inspiration for the next ones. greetings from Fourni piece of rock in the Aegean sea :)
The pleasure is all mine! Sounds like you live in paradise, greetings from Belgium! All my best, Julien
@@contemporaryartissue а я вот побывала в аду. С вами было полегче. Спасибо.
@@marusamusapusa Thank you for tuning in once again, most appreciated!
@@contemporaryartissue in deed! I really live in paradise by my choice. I miss events like exhibitions and concerts but you, and other people, dedicated to art like you, feeding my soul. thank you so much for
your deep devotion to the art world . love and peace to all Be Great in every single particle of you!
Great information
There is art, and there is art business. They each belong in different worlds.
And yet, they have to co-exist. The business world keeps the art world running. However, as an artist, decent gallery representation will enable you to only focus on the artistic side of things.
I will have the best Art gallery in the Caribbean
Go for it!
@@contemporaryartissue Thank you.
first thank you for all of the webinars you have had they are very interesting. Is your gallery a mega gallery and also how do you chose the artists you represent. thanks again
Hi Lori, thank you for tuning in. I really appreciate your most kind words, makes my day. Concerning your question: First, we are not a mega-gallery. We are - for now - a small to medium sized gallery aiming to grow steadily and always thinking on the long term. As we are also a platform and publisher, CAI has a lot more things to do than just working as a gallery, so we prefer to grow slowly but steady on all platforms, which is actually working really well up to now. When it comes to our selection of artist, due to the interdisciplinary character of Contemporary Art Issue, CAI Gallery is able to implement a kaleidoscopic approach rethinking the curatorial practice of a gallery for contemporary art, distinguishing itself from other galleries. The acquired research results, knowledge and art scientific data of the CAI platform is translated into a carefully curated exhibition program and selection of artists. Thank you once again for tuning in and for the interesting questions. Greetings from Belgium, Julien
@@contemporaryartissue thanks for contacting me you answered the first question but not the question of how you choose your artist to represent?
@@loriwakefield1 Hi Lori, the pleasure is all mine. My response to your question on how we choose the artists to represent was this part of my comment: "When it comes to our selection of artists, due to the interdisciplinary character of Contemporary Art Issue, CAI Gallery is able to implement a kaleidoscopic approach rethinking the curatorial practice of a gallery for contemporary art, distinguishing itself from other galleries. The acquired research results, knowledge and art scientific data of the CAI platform is translated into a carefully curated exhibition program and selection of artists. Thank you once again for tuning in and for the interesting questions." So, in short, we combine objective art scientific search results, follow up on interesting tendencies in contemporary art, and we evaluate the artists with our advisory board to have a subjective take on the artists as well. When all aspects were positive, we invite the artist in question.
Very interesting and informative video. A couple of points that were not covered and I would be interested in knowing are: if I go to a first tier commercial gallery and want to purchase a work (I have the funds) it does not necessarily mean that I can buy the work. My understanding is that commercial galleries will only sell to 'established' collectors. Secondly, some galleries have shows that are purely exhibitions, much like a museum show (example Pace-I think it was- did a Picasso show a few years ago.) Many of the works were owned by private individuals. How does a gallery make money on a show such as this? Perhaps it is just building up their reputation.
Hi George, thank you for tuning in once again and for two very good questions that indeed were not covered in the video. Concerning your first question, you are absolutely right. Top tier galleries only sell to renowned collectors and institutions. The reason why is to avoid to sell to opportunistic buyers, who buy an artwork to resell it again with profit on the secondary market a few months/years later. Further more, these galleries have so much clientele and so much demand for their artworks, they are in the privileged position to deny private collector if his or her collection is not prestigious enough. Most often, collectors need to prove themselves by first buying works from their emerging artists before getting access to buy anything from the established artists. A great business model, but also not the most democratic model to say the least. Concerning your second question, these shows happen much more in comparison to 15 years ago. The main reason is because the mega-galleries such as Pace have the ambition to be more than a commercial enterprise, they want to be an institution. Lately, some of the new goals of galleries are also to educate the public opinion, resulting in major publishing activities, both online and in print. They have enough funds to this, they indeed achieve a great deal of prestige and often they have corporate sponsors joining in on the party resulting in a positive return on investment. In short, the mega-galleries are taking over the role of the institutions, aiming to take over their position of power of knowledge and authority. I hope this answers your question, thank you once again and have a great day! All my best, Julien
Thanks
Thank you!
Thank you so much for the video and it’s very enlightening. My question is: Are the gallery only entitled to sell the specific artwork of the artist in the exhibition, or the artist’s other artworks not displayed are also included in the commission contract? Say if a collector want to buy the undisplayed artwork, is it okay for the artist to sell directly to the collector without the gallery? Thank you and looking forward to your reply. 😊
OMG~ i can't believe i missed this one!!
cool · cool ...cool~ !!! Ty!!! 🙏.. .
🙌⛩️🕉️☯️⚛️⛩️🙌.
Thank you for finding your way to the video, much appreciated! All my best, Julien
Thank you for this video it’s helped tremendously. I was just approached by a gallery (first time) and I wasn’t sure what to expect. Your video answered most of my questions and has pointed me in the right direction and hopefully on my way to my first photography exhibit. Thanks for the great content!
That's great to hear. The pleasure is all mine! Thank you for tuning in!
Thank you for a great summary in this video. I have a question, is there a practice to be represented by different galleries in different regions/countries if you are not collaborating with a mega gallery? And the work the gallery doing is only doing the curating only locally, countrywide. How would you suggest to define the split of sales between gallery and the artist, in case gallery represent your works in e.g Belgium => few countries around, on you get noticed and approached by private collectors in US because of your social networks presence. Thank you
thank u very informativ
The pleasure is all mine, thank you for tuning in!
I was in a gallery that would not reveal who the buyers are as they didn't trust artists to not sell behind their back. I found it frustrating that the buyers of my work were anonymous to me. Is this common?
Hi there, thank you for tuning in. Very good question and the answer is yes; it is very common. It has happened too often galleries invest in hosting a show, and the collectors try to get a good deal by buying directly from the artist. Or the other way around, the artist wants a bigger cut of the sale, so they want direct contact with the client. By doing so, the gallery created the lead after a lot of work and investments and possibly being cut out, so it is kind of a sensitive subject. Further, in any business, people don't like to share the details of their clients to avoid poaching. Hope this might help!
Galleries do not work for the artist, they work for their clients. They are just middlemen.
I am unclear about what sort of exclusivity is expected. You say that it's not acceptable to sell directly if someone saw your work at a gallery, but also that most agreements are not exclusive. So is the exclusivity just for specific works for a specific time? If a work is in a gallery for a long time and doesn't sell, can the artist take it back and later sell it as they wish? Can the artist put some work in a gallery and sell some elsewhere?
With exclusive agreements, I mean that you are not allowed to work with anyone else than one particular gallery. This is something to avoid especially in the early stages of your career. So indeed, the works are specifically for the gallery to sell during the exhibition. The artwork remains yours, so you are free to sell it yourself after the show.
I think it's every artists dream (mine included) to be shown by a gallery. Though there are some factors that cause me concern. 1, Galleries need artists. Not artists need galleries. 2, The jump from being a "nobody" to actually getting accepted by a gallery seems so extreme. Like why do I feel the need to beg and plead with a gallery when they need us? 3, Along those same lines, galleries are elusive. We don't know how to approach them or if they approach us, if we'll be laughed at for not knowing something we're supposed to, etc. Artists feel like the options are be ripped off by a bad gallery that actually accepts them, or somehow be in the right circles. Like expensive art schools, rich connections etc. This is purely based off of impressions I've gotten. Of course I'd love to make a strong connection in gallery communities!
Hi Lady Liddie, thank you for tuning in. I believe galleries need artists, and artists need galleries. The thing is, as there are more galleries then there are artists, there are more artists in need of a gallery then there are galleries in need of new artists. This is a very logical result, making it of course difficult for artists to get into galleries. However, never beg and plead with an art gallery, even though you need them. This won't be appreciated. They will invite you if everything is right and you are the right fit. Feel free to read our article on how to succeed as an artist for more information: www.contemporaryartissue.com/how-to-succeed-as-a-painter-artist-everything-you-actually-need-to-know/
I'm in a gallery...and I've been in a couple now! I had to leave one in the past. The owners were toxic. As a result, it's more important to me as an artist that the contracts are made...and followed. The owner is invested in the art gallery because they genuinely want to help artists make a living and not just, the owners are wanting to get rich off my work. They like me, and not just what I can do for them. It's absolutely a relationship...just like you are dating someone. It's a TWO way street, not a one way.
Find people that work WITH you. The gallery needs the artist more than the other way around. In the day of social media/internet, you can absolutely make money apart from galleries as an artist. You can teach art classes locally, you can teach art classes online, you get most of your clients through word-of-mouth...etc. I can go on for HOURS. Actually, if you are in a gallery, I recommend branching out. If that gallery goes belly up, you will want other sources of income.
I know a handful of emerging artists who have also dabbled in curating art shows such as community art centers and exhibition spaces. In the case with the art center exhibition, the art center controlled the financing (I’m not sure if the art was actually for sale at the art center). In the case of the artist/curator run show, I think the financing and selling was a collaboration between artist and curator. I think the main goal of these exhibitions was to showcase the art and spotlight the artists, not necessarily to sell the art at the shows, however, I think there was the potential for someone to purchase the art, but I’m not sure. I don’t know if this is an emerging trend and I am curious of your thoughts on the potential of these types of arrangements, where the gallery is eliminated, and maybe the independent curator replaces the roles of the gallery, maybe in collaboration with the artists-like an artist curator cooperative.
Dear Karl, thank you for tuning in and for an interesting question. It all depends on the type of entity where the exhibition takes place. I recently published a two video series on the art world explained discussing all the different types of entities in the art world, including exhibition oriented entities from museums to galleries, art spaces to art events. Art centers are indeed more focused showing the art instead of selling, because everything is already financed via public funds or a patron of the arts. Great for critical recognition but not great to generate revenue for the artists. With art galleries, they have to sell to fund the exhibition in the first place. As a result, they are more motivated to promote sales, which is both good for the artist, and for the public-as it doesn't cost the public any money as the gallery director funds everything with their business. Curators won't replace galleries, but they both play an important role and very often work together.
I wonder if an artist finds the art gallery traditional ways more true to them (as it seems supportive, respected in very academic research style ) but doesn't want to look like a seller but wants to genuinely give away their art with lil money to close people or associates who finds their work. I think that's not selling yourself right?
Sometimes an artist just wanna give away from their heart maybe because they believe artist is a man of society. Not attaching the art to themselves but to the humanity. I like that idea alot:)
Very good video - from an artist perspective. Is a gallery contract (or agreement) usually exclusive? Or can I have more than one gallery, e.g. in different countries?
Dear Martin, thank you for tuning in. Most gallery contracts/agreements are not exclusive. You can have multiple galleries in different countries. If they do want exclusivity, make sure the gallery is able to offer you a solo exhibition (bi-)annually and sells +25% of your produced artworks. If they cannot fulfill these two things, than I would advise you not to work with exclusivity with a particular gallery
Great video! Do you have a suggestion on what to say to a client that approaches the artist directly? What should be said to involve the gallery in the sale and not offend the client?
Hi Miriam, thank you for tuning in and for your great question. If the client approaches you by mail, I would advise to respond to the email with the catalogue of your works from the gallery and add the gallery contact in CC, mentioning they will take care of everything so you can finalize the sale together by mail. If the artist contacts you directly via instagram or by phone, you could ask for an email address and that your gallery will provide them as soon as possible the catalogue with available works and assist them further. I believe this is the best practice. If the client only wants to have contact with you, sure you can complete the sale directly, but have the gallery do the invoicing for instance. Transparent communication is key to avoid any possible conflict with both the client and your gallery
@@contemporaryartissue thank you so much!
If you are the gallerist, then it means you have no secure agreement with your artist. Any artist that gets a direct request from a collector would know where it came from and tell them to continue with the gallerist.
What about galleries that buys the artwork from the artist themselves? It's very hard to find any art galleries who buys artwork from artists and then resell with a royalty percentage going to the artist. Do you know of any galleries that function in this way?
So basically art galleries are consignment shops for art?
Ooh- I just thought of a question. How does a gallery mitigate the fact that artists can sell their artwork on so many different websites and don't need the gallery to be in the middle? How does a small upstart show that it is worth it to the artists to sell with the gallery?
Hi Desiree, that's a great question. The gallery can provide a better service than for instance Saatchi or Singulart. These online market places for artists do not do anything - or very little to promote the artists in question. However you as a gallerists will actively support, represent, promote and sell their works. But of course, if you do not provide the lead for the sale, especially as a small gallery, then it is of course logical the sale does not go through the gallery.
What would be your advice to a gallery in South America, representing local artists, and promoting them on an international platform such as Artsy in the USA? Same query from the artists´point of view.
Hi there, thank you for tuning in. I would certainly advise to aim to reach an international audience as well. The web is a great and cost-efficient place to start. Artsy is of course very interesting to find new leads and for your general online exposure. Art fairs in other continents is another great way to widen your audience. Become a global brand instead of being a local exhibition space is the most important objective
What direction in painting is now popular and in demand among collectors?
Hi Ivan, I have responded to this question with your other comment. Have a great day! Julien
like
open
an event art Residency gallery in Monaco
look for infestor
As an artist, I hate so much all the selling and marketing stuff that for me 50% is so ok! Painting is NOT the hard work!
I agree! I am convinced numerous artists feel the same. Thank you for tuning in!
I want to sale my art how do I post
I am an artist who just started up an art gallery here in Abu Dhabi but facing a lot of challenges in sells. I also just turned into a full time artist in 2020 during the covid-19 pandemic. I am looking for all your support and advice to help me grow as an artist and also as a gallery
Hi Queroz Art Gallery, wishing you all the best for your endeavours! I believe there is more information be found on our website, feel free to have a look, and stick around for our future videos. Chat later!
Another question: how do you find prices for artworks by newcomers?
Hi Martin, do you mean how can we price artworks by beginner/emerging artists? We have written an extensive take on this subject in our article on how to succeed as an artist (chapter 5). Feel free to give it a read here: www.contemporaryartissue.com/how-to-succeed-as-a-painter-artist-everything-you-actually-need-to-know/
@@contemporaryartissue OMG - I made/make so much mistakes. Great article., thanks for the link.
@@MartinMissfeldt That's why we have these articles and videos :-) The pleasure is all mine, thank you for reading
Art galleries play a crucial role for investors.....AKA the junk-bond art market.
Define Gari
Am a artist am interested to work showcase and exhibit my works I need sponsor to sale my artworks
You reference an index number in pricing paintings but you never explain what an index number is.
thank you, how to step in professional gallery? Im so long in art field, but need promo.. Artist lets be friends :)
Hi Erika, thank you for tuning in and for your good question. Sadly, there are more artists looking for representation than there are galleries looking for new artists to represent. We have written many pointers on this topic in our article on how to succeed as an artist. So feel free to read chapter 8 and 9 in particular, I believe the most important aspects are covered in just a few paragraphs: www.contemporaryartissue.com/how-to-succeed-as-a-painter-artist-everything-you-actually-need-to-know/
should a emerging artist new artist do Instagram or UA-cam videos
Hi there, thank you for tuning in. An emerging artist should definitely do Instagram! It is a great way to link up with other artists, collectors and galleries. You would be surprised how many collectors and galleries look for new artists on instagram, it is by far the most powerful social media platform in the art world. UA-cam isn't the best choice in my opinion, as it is still frowned upon for artist to promote themselves which UA-cam is, where instagram is just a personal blog, as if a happy.
@@contemporaryartissue thank you so much !!
I refuse to pay a gallery to hang my art.
Hi Karla, you're absolutely right. Never pay to play. Have a great day!
galleries without art
why do art people always wear black? is it haloween?
Good point 😅 It's a certain dress code for many people in the cultural sector. I have done it myself in fact many times but I have no idea why to be honest.
lol. good point.
I think people often wear black to keep from detracting from the art itself
@@desireegreystone4637 why not gray? or perhaps even white so you can blend with the walls
its a mute color.. it will blend to all the shades of primary and secondary color in real time.
Not a critique, as I appreciate your insight, but if the artist cannot UA-cam, why can a budding gallery dealer? $$$
can you be a little bit more vague and generic?
Let's retire the term "one-man" show. It is bad enough that women have not made much progress in the art world between 70s to now.
Can we at least point to where we wish to go?
Solo exhibition is the most correct term for sure, and most used as well in the art world. And I do believe there has been a great deal of progress concerning women in the art world!
Very informative and beginners friendly!