Hey guys
Nitty gritty chat this week, GALLERY chat!
So much of behind the scenes of an artists life isn’t openly discussed, I want to open up conversations about the practical realities of life as an artist and the first thing that came to mind was gallery representation and what it means for you as a working artist!
It’s a overwhelming topic for some so I’ve shared some research:
Thanks for watching guys see you soon xx
Notes:
Through your research, get to know priorities as a gallery you are interested in. What kind of work do they show? What artists have they shown? Do they show work by artists at the same career stage as you? What kind of gallery are they?
Galleries all have their own individual way of working. There are general categories of gallery, but each may work in a number of different ways. You need to research the galleries that you are interested in working with. This will mean you will only approach galleries that might work with you, with your art, and with your profile as an artist.
researching commercial galleries
What is the gallery about? What is their remit and long-term agenda? Are they like yours?
Do they work with artists working in the same media / career level as you?
Are their ambitions realistic?
What are the background, CV and training of the gallery director? It’s not always possible to get this information easily but it’s worth trying to find out about their interests. See if they correspond with yours, and their reputation.
Does the gallery look financially secure? Is it safe in a prolonged recession? Again this information, can be hard to find. Much could be available from Companies House.
Has the director worked for reputable galleries in the past? Check their Linked In profile. Be aware they may edit out less successful parts of their career.
Does the gallery exhibit at reputable fairs? such as Art Basel, Frieze, or their ancillary satellite fairs?
Does the gallery give regular repeat solo shows for their artists?
Does the gallery have strong connections with reputable galleries abroad?
Does the gallery have a regular following of quality collectors?
Who are the other artists represented?
Is there a specific type of artist represented? What common features, if any, exist between the artists represented, and do you fit within that?
Has there been much turnover of represented artists? If so, why?
Have artists come after their contracts with established galleries have been terminated?
How many artists does the gallery represent? Galleries have a limit to resources and number of artists they can represent and support.
How does the gallery handle you selling work outside of the gallery? What percentage does the gallery get if they don’t make the sale?
Will the gallery allow you to show in other people’s shows? i.e. group shows in other galleries, if so at what percentage of sales do they take?
Commercial gallery contracts
Consider these points before entering into any agreement with a commercial gallery.
Do not enter into a binding agreement for global representation and sales. Very few galleries have much of a reach beyond their own country.
Any agreement should be in writing. If you cannot get a contract or letter of agreement, have all agreements confirmed in emails. Keep a record of all correspondence. This paper trail will serve as your contract if need be.
No first contract should be for longer than a year. lt can be automatically rolling when renewed by both parties. It’s important to test the relationship and make sure you each get what you need.
Establish retail pricing of work in conversation and agreement with the gallery. Retail price = artists price + gallery commission
A notice period of 3 to 6 months must be in a contract to allow either party to withdraw.
When selling work they should provide the buyer with a document of authenticity. This includes a photograph of the work, and invoice / bill of sale
Insurance of all works whilst in the gallery’s care, and in transit.
Will the gallery pass on contact details of whoever buys your work? Very few galleries will provide full contact information. Galleries have concerns about collectors and artists striking deals outside the gallery contract. It is reasonable to know the names of who has purchased your work.
On sale, the gallery should pay the artist in full within thirty days on receipt of its own payment from the client.
How will the gallery promote your work to curators?
Fiduciary responsibilities. This clause concerns ownership of the artwork and the gallery’s financial responsibilities to the artist. It should state that work on consignment is owned by the artist and cannot be taken by creditors in case the gallery goes bankrupt. A number of high-profile cases make this a good idea.
Loss or damage to work or equipment - this should be accounted for, and agreed upon in writing.
Artists always retain the copyright to all artwork even after it is sold.
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