Gallery - Artists Relationship TIPS
The gallery/artist relationship is a business relationship. Each party has responsibilities that need to be clearly defined and understood. Each gallery has its own way of doing business and unique way of interacting with the artists it represents. Before entering into any agreement, be sure the situation and personnel is the best fit for your artwork and work habits.
Things to consider:
1. How the relationship works. The responsibility of the gallery is to handle all business matters relating to the showing and sales of artwork, freeing the artist from this responsibility, providing more time in the studio. Most galleries have a set percentage (or split) they take from each sale as compensation for representing the artists work. This amount is deducted from the retail price, which is clearly defined between the artist and gallery prior to exhibiting the work.
2. Exclusive gallery representation. Many galleries require the artist adhere to exclusive representation within a geographic area. This protects the gallery from business being done outside the gallery and compromising the gallery/artist relationship. It also ensures the artists work is represented and presented in the most professional manner.
3. Promoting the artists work and career. Ask this question before entering into an agreement with a gallery. Does the gallery have an ongoing plan to promote the gallery and the artists it represents? Does it have professional relationships locally and nationally that provides new opportunities for the artists it represents? How does the gallery advertise and promote its exhibitions? If you are going to rely on the gallery to promote your work, then you have to be confident in their methods to reach the audience for your work.
4. Pricing your artwork. If you are just starting out, it is generally a good idea to talk with gallery personnel and price your work at a level that will be attractive to collectors that are interested in new or emerging talent. As the market responds, a gradual increase in pricing will generally follow. Pricing of the work should remain consistent from gallery to studio, and from gallery to gallery. The last thing you want is to confuse your galleries on pricing and risk alienating collectors because your prices are all over the place. Consistency in regulating your market is very important.
5. Exhibiting your work. Ask how your work will be displayed and with what frequency. What are the opportunities for a one-person or group show? What is the gallery policy for exhibiting outside the gallery? How does the gallery interact with other galleries and what is the policy for rotating works out. If you have multiple galleries representing your work, this can become an important issue. Most galleries will maintain a moderate inventory of your work in the gallery, with the assurance they can obtain works from the studio as needed. This is also why it is important to periodically check with the gallery and maintain current digital inventory files.
6. Insuring the work. Typically, the gallery will insure the work while in their possession. It is generally a good idea for the artist to have their own coverage for damage or loss. Most insurance companies can supply this type of coverage for a reasonable fee.
7. Mounting an exhibition. Generally, the gallery will cover all costs associated with mounting an exhibition. This will include the cost of producing the invitation and postage for mailing, all advertising costs associated with the show and an opening reception; including food and beverages as agreed upon. In some cases, it will include artist travel costs and hotel accommodations. The artist is responsible for getting the work to the gallery in a time frame consistent with gallery policy. The work should be framed (if needed) and ready to install. The responsibility of installing the work is negotiated between the artist and gallery.
8. Third party sales. If the artist is contacted directly or has the opportunity to sell their work through a third party, it is advisable to refer the party to the gallery. When dealing with interior designers, art consultants and corporate buyers, it is best to inform the customer that their is a gallery/artist relationship. This will prevent any misunderstandings or confusion in putting the sale together. A misunderstanding in this type of transaction could not only jeopardize a sale, but the gallery/artist relationship.
Things to consider:
1. How the relationship works. The responsibility of the gallery is to handle all business matters relating to the showing and sales of artwork, freeing the artist from this responsibility, providing more time in the studio. Most galleries have a set percentage (or split) they take from each sale as compensation for representing the artists work. This amount is deducted from the retail price, which is clearly defined between the artist and gallery prior to exhibiting the work.
2. Exclusive gallery representation. Many galleries require the artist adhere to exclusive representation within a geographic area. This protects the gallery from business being done outside the gallery and compromising the gallery/artist relationship. It also ensures the artists work is represented and presented in the most professional manner.
3. Promoting the artists work and career. Ask this question before entering into an agreement with a gallery. Does the gallery have an ongoing plan to promote the gallery and the artists it represents? Does it have professional relationships locally and nationally that provides new opportunities for the artists it represents? How does the gallery advertise and promote its exhibitions? If you are going to rely on the gallery to promote your work, then you have to be confident in their methods to reach the audience for your work.
4. Pricing your artwork. If you are just starting out, it is generally a good idea to talk with gallery personnel and price your work at a level that will be attractive to collectors that are interested in new or emerging talent. As the market responds, a gradual increase in pricing will generally follow. Pricing of the work should remain consistent from gallery to studio, and from gallery to gallery. The last thing you want is to confuse your galleries on pricing and risk alienating collectors because your prices are all over the place. Consistency in regulating your market is very important.
5. Exhibiting your work. Ask how your work will be displayed and with what frequency. What are the opportunities for a one-person or group show? What is the gallery policy for exhibiting outside the gallery? How does the gallery interact with other galleries and what is the policy for rotating works out. If you have multiple galleries representing your work, this can become an important issue. Most galleries will maintain a moderate inventory of your work in the gallery, with the assurance they can obtain works from the studio as needed. This is also why it is important to periodically check with the gallery and maintain current digital inventory files.
6. Insuring the work. Typically, the gallery will insure the work while in their possession. It is generally a good idea for the artist to have their own coverage for damage or loss. Most insurance companies can supply this type of coverage for a reasonable fee.
7. Mounting an exhibition. Generally, the gallery will cover all costs associated with mounting an exhibition. This will include the cost of producing the invitation and postage for mailing, all advertising costs associated with the show and an opening reception; including food and beverages as agreed upon. In some cases, it will include artist travel costs and hotel accommodations. The artist is responsible for getting the work to the gallery in a time frame consistent with gallery policy. The work should be framed (if needed) and ready to install. The responsibility of installing the work is negotiated between the artist and gallery.
8. Third party sales. If the artist is contacted directly or has the opportunity to sell their work through a third party, it is advisable to refer the party to the gallery. When dealing with interior designers, art consultants and corporate buyers, it is best to inform the customer that their is a gallery/artist relationship. This will prevent any misunderstandings or confusion in putting the sale together. A misunderstanding in this type of transaction could not only jeopardize a sale, but the gallery/artist relationship.