Do Artists need Gallery? To promote their art..,
Do artists need a gallery?
articles/Dealing direct do artists really need galleries theartnewspaper.com
Artist, Writer at Freelance
Yes! Artists not only need gallery but its backings too!
la galerie d’Artistes Chez moi Chez toi http://www.chezmoicheztoi.net
Artiste is a reel job! Galleryste is a reel job too.
Yes they both exist and they need each other!
I’m Artist. I’m Galeryst. But I need Galerys.
Licenciada Bellas Artes
No, not always.If it is a , let·s say, a private artist and isn·t interested in great public, or publicity,he can show his work, in Institutions, in his own place, or where he works, there are people that prefer buying in private, well, it·s an opinion. Sorry my English, I·m fron Argentina.I had a gallery, antiques, and I paint, geometry,etc.I studied at the University, and with important painters and professors.
CEO at FineArtShare.com
I think artist need to understand that there is an acceptable system to it all. It took me a long time to grasp the importance of galleries. It wasn’t until I came to the point where my work needed to be appraised, that it really hit home. At the time, I had no affiliations with galleries worth mentioning, nor with auctions. Appraisers rely on verifiable sales. Believe it or not, when an artist sells a work by himself, it is not considered verifiable, unless meticulous records are kept. I’ve been working over thirty years, and I have found that galleries are like comfort zones for artists and collectors alike. Yes, in the old days, while I was building my career, I worked my butt off to get where I am today. I sold work just to eat and feed my family. Now, with demand where it is, galleries sort of screen potential investors for me. I like it when a collector contacts me and suggests I work with a specific gallery. I appreciate the trust. So my vote is YES.
Counselor, Licensed Real Estate Broker, Manager,Owner INVESTCOUNSEL LLC, Owner/Curator at CITYLOFTART LLC,
Let me simply say “YES”, definitively !
As it is well known, a creative person has major problems to market his own art.
– some don’t even consider to sell their work, because they do not want to separate.
– they do not like to get involved with arguments of value and comparables.
– they are too emotional to deal with buyers and swallow their negotiation arguments.
– they do not know to reach out to potential clients and do the necessary promotions.
– they cannot produce the valuable presentation/merchandising to obtain prices, and…
– they cannot deal with contests, returns, exchanges, and warranties required from a dealer.
The ‘dealer’, generally an established local Art Gallery, can reach out to new and different consumers, satisfy all the mentioned needs to market the Artwork and maintain a image level, the artist alone cannot necessarily reach himself.
There is a need for a long term commercial strategy to “make” an artist and there is also a heavy financial commitment for a serious gallery to do this “job”.
A successful presence in a renamed gallery can also help to be officially recognized for appraisals of the artwork, a base to argue about value but also insurance etc,
CITYLOFTART LLC #102
2200, Biscayne Boulevard
MIAMI, Florida 33137
Tel.: 305 491 0492, Fax: 786 616 8137
(“by appointment only”)
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Nominated “Best Gallery in Florida 2014” by the American Art Award,CA.USA
Artist, Writer at Freelance
For cinema, theatre is an integral part it and for painting/sculpture, gallery is too!
Good morning to all our members around the Globe, we’ve all had a busy week and now looking forward to a relaxing weekend. Thank you to Sylvain, Pushkin, Asgeir, Graciala, John, Hans Juergen for your contribution to the current debate as being an important decision any artists is having to make to further the career as a professional artists.., lets get a broader census from members waiting to participate..,
What do you say in Australia, Hong Kong, China, Russia, India, Pakistan South Arabia, Europe, Africa, Canada, USA or in South America?
HAPPY WEEKEND TO YOU ALL!!!!
Primary Curriculum Consultant
I am trying to support an unknown but talented artist. He sells his art but has never found the necessary marketing skills to reach the wider market. My question is how does he even find a gallery without being already recognised for his abilities?
Artist multi media at Crisman Art
After working hard for over 30 years, still not represented in galleries. My husband and I developed a 1 ha open field into a park and build my own holistic double storey gallery. We sold the property last year and moved to the Cape. No business! I find it very difficult to represent and market myself. It needs another creative professional to do the marketing!
Good morning, When a painter is established as professional, he should have two different businesses, creator and seller. Having a gallery allows the artist to focus solely on the creation.
Second, a gallery that has a good reputation can give confidence to the customer on a painter who is not very well known. Unfortunately, many galleries do not want to take any risk and simply rent their wall and do honest proposals only to the already known painters. A good gallery owner should be somebody who loves painting and painters, who support them, not only a seller. Art is not a commodity, a mere object, that is a heart to heart exchange between the artist and the viewer.
My answer is yes, a gallery is necessary for an artist but a good gallery, not a simple store.
Good morning to all our members around the Globe, hope you all enjoying a restful Sunday.., The weather and temp. here in the UK is high and warm bright summers day with these condition remaining going into the new week, showing good signs of a warm week ahead.
The debate is coming along nicely with response from our members adding to the interest. Therefore add my questions to the following for your feedback to the debate to make it more interesting for all that are quietly following the progress..,
1. Thank you Sylvain a collector – France for starting this debate, but a question for you is what were your reasons to start this debate? And hopefully you are happy with the feedback?
2. Pushkin a artist – India would you like to share or add your personal experiences of situation in India?
3. Amira associated Art Industry – Dallas USA. Would you like to add any comments to share with our members?
4. Asgeir gallery – France would you like to add your gallery perspective and experience with the position in France.., please feel free to reply in French if you find easier as we have a policy to welcome everyone’s points of view and accepted from the beginning mufti language dialogue for GICAS members to participate freely.
5. Gracida artist – Argentina, Thank you for adding your valuable comment. Our purpose here is allow the choice for each artists to have a well informed choice at their disposal and also respect the privacy of the individual as we already extend this to Asgeir in France, do please reply in your own language if you would like to add further comments.
6. John CEO art Industry, St Louis – USA You made an interesting observation that I am sure will be helpful to all members around the globe. As each artists embarks to develop the future career to higher levels to understand and respect the two ways process of relationship building and both have to earn their place in the Art World of Today..,
7. Hans Juergen gallery – Florida USA , Thank you for comments
8. Steve UK – Thank you for your adding your comment. There is no easy solution accept like what you are already doing in contacting all interested galleries. But a useful tip would be if you could make sure the work that the talented artist is doing is compatible to the galleries that you approach. I am sorry that I have been busy with all the activities that require my attention daily that involves looking after my own portfolio of Vilas Fine Art gallery artists and gallery in UK. Hopefully for the long term future the problem of finding long term partners for individual artists around the globe could be solution through Globalization ICAS for its members.
9. Christiane Artist/ gallery – South Africa once again thank you for sharing.
10. Theiry artist – France All very useful comments for our members to take note as the message is the same for all our members globally whether in France, Europe, UK India, Australia, USA, Canada or South America.
Enjoy the rest of your SUNDAY!!!
As a collecting for more then 30 years now, I have seen a drastic transformation of the Eco system of the art world. When I began to collect, things seemed clearer with galleries taking care of the first market of an artist and for already matured artists, it was auction houses.
The reputation of an artist was mostly made through the institutional validation. Now things have drastically changed. Artists can also build their career through the use of the tools of the digital world. The first and second markets are getting closer and closer with collectors flipping the works. This is also changing drastically with the importance of the social networks. So I thought by asking this question to come back back to the basic:
The relation between an artist and a gallery.
As for the answer is simple.
An artist DO need a gallery to build his career. Even Francis Bacon had a gallery. An artist should devote all his time in his studio.
As for us, we collect mostly from galleries but also directly from an artist if he does not have a gallery. By doing such a thing, we want to help the artist to get visibility and very often it helped the artist to find a gallery.
Thank you for giving me the opportunity to bring food for the thoughts and having people make their own cooking.
Licenciada Bellas Artes
O.K. He·s a good artits,but it·s hard for him, to find Gallerys where he could show his work, you know why,…because gallerists are commercial people,they aren·t painters,etc, they work to win money-with the talent of creators… they must win money, and with an unknown artist is difficult…but remember, great artists of the world, they began in that way… many selling his creations in bars,buses,trains,etc. etc.You know how many people lived, with the feet of Maradona???, millions. millons of people lived with his feet….O:K:?
Good morning, thank you very much Sylvain for these valuable informations. I remember that a gallery is essential, but how to select a good gallery, a gallery that feel concerned with promoting the painter, led by a person who likes paintings and people and not just money?
There are so many galleries that the choice is very difficult, what are the criteria of a good gallery ? Its situation, its size, artists exhibited ? For me the relationship between the gallery owner and the artist seems to be be essential, I have some galleries but without relation, on one side is the OWNER and on the other, the poor artist which is almost considered as an employee. I believe that the two are associated, the artist needs a gallery for selling his paintings but, without the artist, a gallery is an empty room with nothing to sell. Is my point of vue right or too simple ?
Artist, Writer at Freelance
An artist/curator in India said to me recently during a casual discussion about the current art situations during an exhibition of ‘miniscule works’ (possibly for better sales) that considerable art galleries in India are now closing their doors and waiting for a colourful prospect, thinking that may have started its voyage toward their doors from somewhere in the future. Most of the art galleries in India considering art are nothing but just a business/industry and they want ‘super’ profits from artworks/exhibitions frequently. Artists too knowingly working for such galleries’ interest for financial success and such bargaining harshly banishing very talented, highly qualified and uncompromising artists from the art galleries/art markets. My request is to respectable galleries- support talented artists for ‘better’ profits and outstanding works of arts. Thank you!
Artists always need someone who can market their art, so that artists themselves can concentrate in art.
For a along time this support to the artists came from galleries that had a place to keep the artworks and show them to the buyers.
But in the era of internet, things are changing very fast. As life is becoming fast, buyers and sellers do not often get time to meet and trade takes place in cyber-space. Artists can showcase their works on the net without a real exhibition.
In future things will change even more.
Abstract Painitngs – Transpersonal Art
Hello to all and sorry my bad English, I live in Argentina (Buenos Aires). I think is good to have a Gallery Art the problem is when the gallery have to much artist in that case is better to have an Art Dealer. Sorry again for my bad English. At the moment I don´have any person because is more free to me moving, perhaps in the future I need some person to promiote my works. my website http://www.camilovillanueva.com . Thank you all the best . Camilo
Artist, Art Education and Healing Arts Consultant
As someone who has no gallery and just now looking to work towards selling my art alone this is a very interesting question, many galleries here in Florida are very specific or have a vast array of artist work, the gallery alone is not sufficient to make a living, My art is also on fine art america,and I grew up doing art shows with my parents as jewelers and you must have exposure. I think there are more artist and opportunities because of the internet and the variety of venues you can use to show your work. Today you may not need a gallery to show your work but it helps and you should have someone who is interested in helping you not just a profit margin.
Artist, painter, printmaker, owner of Tenfingers Art and Design
Thank you Sylvain for starting this discussion, it’s interesting to see the different perspectives from around the world. I’ve oft and on had galleries, so many close during the hard times—right now I don’t have a gallery but have an exhibition that is going to travel to a museum and an art center this year. I’ve shown my work a lot but my work isn’t really commercial and sales tend to drive what most galleries show. So, I don’t think an artist has to have a gallery with the digital age but it’s nice if an artist can find the right gallery that really believes in and understands their work—that’s not easy though.
La grave crisis económica internacional que estamos viviendo ha hecho desaparecer un gran número de segmentos de mercado y el fraude y la especulación parecen haberse adueñado del mercado del Arte entre otros, poniendo de manifiesto una profunda crisis de contenidos y valores humanos que compromete seriamente el futuro del Arte, generando una controversia cada vez mayor entre artistas y galerías de arte.
Ciertamente la insatisfacción es enorme y están surgiendo otras alternativas y modelos de negocio para gestionar la sostenibilidad de la producción artística, modelos que, en mi humilde opinión, no son sustitutivos sino complementarios de la labor que debería realizar una verdadera galería de arte.
Así entiendo que, al artista le corresponde invertir en la creación y elaboración del producto, la obra de Arte que, como todo producto, debe tener unos atributos y elegir por quién quiere y puede ser representado y a la galería le corresponde elegir a quién y qué representar, dónde invertir y desarrollar una estrategia de marketing para promocionar los atributos del artista y su obra, en su visibilidad y posicionamiento para posibilitar las ventas, garantizando de este modo la sostenibilidad de la producción artística y la rentabilidad del negocio de la galería.
En los últimos años han desaparecido muchas galerías de arte y además los artistas se enfrentan a que la mayoría, de las aún existentes, efectúan una escasa o nula inversión para la promoción del producto que exponen, una visibilidad que suele pagar el artista por anticipado, sin garantías de una buena gestión por parte de la galería de la inversión que a éste se le exige realizar. Flaco favor hacen estas galerías a los artistas y no es de extrañar que prefieran prescindir de ellas.
De otro lado existen galerías de arte que invierten en arrolladoras campañas de implantación y venta y deciden elegir a supuestos artistas que no lo merecen junto a obras, de escaso o ningún valor, que elevarán a la categoría de Arte en el mercado. La capacidad de una buena estrategia de marketing puede convertir un producto carente de valor en algo sumamente valioso.
Como consecuencia hay artistas de extraordinario valor que no son promovidos frente a otros que careciendo de cualquier mérito si lo son , causando enormes desequilibrios.
La coexistencia entre artistas y galerías de arte es posible y creo que es necesaria , siempre y cuando cada una de las partes asuma y cumpla sus funciones con sincera honestidad.
The severe international economic crisis we are experiencing has removed a large number of market segments and fraud and speculation seem to have taken hold of the Art market , among others , showing a deep crisis of content and human values that seriously compromises the future of art , generating a growing dispute between artists and galleries.
Certainly dissatisfaction is huge and emerging alternatives and business models to manage sustainability of artistic production , models , In my humble opinion, are not substitutes but complementary to the work to be performed a real art gallery.
So understand that the artist it is up to invest in the creation and development of the product, the work of art that, like any product , you must have some attributes and choose who you want and can be already represented the gallery is to choose who and what represent , where to invest and develop a marketing strategy to promote the attributes of the artist and his work, visibility and positioning to enable sales, thereby ensuring the sustainability of artistic production and profitability of the gallery.
In recent years they have gone many art galleries and also the artists face most of the still existing , made little or no investment in product promotion that expose , visibility usually pay the artist in advance , without warranty of good management by the gallery of the investment it is required to perform . Make these galleries disservice to artists and no wonder they prefer to dispense with them .
On the other hand there are art galleries that invest in implementation and sweeping campaigns sale and decide to elect assumptions undeserving artists alongside works of little or no value , which rise to the level of art on the market. The ability of a good marketing strategy can turn a product into something worthless invaluable.
As a result there are artists of extraordinary value that are not promoted over others who lack any merit if they are, causing huge imbalances.
The coexistence between artists and galleries is possible and I think it is necessary , provided that each of the parties assume and fulfill their duties with sincere honesty.
All I know is if I had help to create the work (financial help) I would be selling a LOT more than I currently am. Hatchfund wants to help but with my disability status if I make too much money in any one month I could get my benes yanked. So it’s a real catch 22. That’s the main reason I want a gallery.
painter,expo and interior designer ,founder,manager, Five Golden Stars International Art Gallery the Netherlands
It is a fact galleries are for artists to build up their name and future ,remember run a good gallery cost a lot money more than some people may think ,also we think a artist don,t work for nothing ?.
Greetings dutchartistjelke , painter and founder five golden stars international art gallery
Una galería de arte es un negocio pero ¿qué tipo de negocio?.
Existen galerías de arte cuyo modelo de negocio es el alquiler del espacio, organizar un catering a familiares y amigos y elaborar un catálogo de la obra de la exposición, cuya calidad dependerá de lo que el artista esté dispuesto a invertir, según sus recursos económicos. Estas galerías, con escaso o ningún poder de convocatoria, tienen como fundamental objetivo seducir al artista con falsas expectativas, siendo el artista el que pagará todos los gastos de su exposición, independientemente de efectuarse o no alguna venta. En el caso de realizarse alguna venta, posiblemente será a un cliente ocasional y la galería de arte cobrará al artista, además de los gastos de la exposición, una comisión de representación por dicha venta.
Lógicamente este tipo de galerías de arte no son necesarias para un artista porque, a día de hoy, él puede alquilar individual o asociado a otros artistas y contratar los servicios que él necesite en espacios de edificios emblemáticos, incluso en Ferias de Arte, con un poder de convocatoria y divulgación medidas previamente.. El artista pagará por estos servicios, pero no tendrá que pagar comisiones de venta, por lo que su obra saldrá al mercado con su precio neto, facilitando su adquisición al cliente.
Ésto no le garantizará la venta de su obra pero si logrará una visualización de su producto en el mercado.
El artista también encontrará galerías de arte que les “concederán el favor “ de tomar sus obras y colgarlas o colocarlas, gratuita e indefinidamente. No se engañen, es una galería “pesebre” que carece de estrategia de mercado por lo que no analiza el producto, si está o no está en su línea de trabajo, etc. y utilizará su trabajo para ocupar espacios vacíos o para almacenamiento. Su obra seguramente no está en el lugar adecuado y el favor se lo está haciendo el artista a la galería y no al revés.
Con respecto a la visualización de una obra de arte on line, para divulgar y promocionar la marca de un artista y como primera toma de contacto para un cliente es excelente, incluso para realizar ventas de determinadas obras pero con un límite de precio.
Por supuesto que un artista puede ganar mucho dinero con la venta de sus obras on line, si sus obras son de formato pequeño y no requieren una gran inversión de tiempo, ni de materiales, incluso es posible que muchos artistas no precisen ni mantener un estudio. Podrán ofrecer sus obras a precios más económicos y el cliente invertirá si le gustan, sin necesidad de comprobar previamente la calidad del producto en el que invierte. Pero seamos sinceros, ¿quién de nosotros compraría una obra de arte por varios miles de dólares sin examinarla concienzudamente antes de comprarla? Yo no.
Good morning to all our GICAS members around the globe. Hope you all had a pleasant weekend break.., Welcome to our newer members joining us for the first time here in our creative lounge and thank you for sharing your comments, It all makes interesting reading plus highlight the similar concerns around the Globe in working with galleries, art agents, art consultants that each artists faces moving his or her art development / career to the professional level to make a healthy living or to generate an income on a regular bases.
Also welcome a face update by Sylvain who initiated this topic of conversation. Its lovely to see a face of the person who is making an active contribution.
My recommendation as a solution for artists and this will be long term program as we already have a data base that includes, artists, art galleries, museums, art agents / art dealers. We as GICAS organisation recognised the problems find solution within our membership to offer support or have more galleries coming forward to form a partnership agreement that both parties could work together in the best interest of our GICAS families around the globe. I am happy for any galleries, art agents, art dealer to contact me directly so that we could jointly work on a plan moving forward.
Happy new week to you all!!!!
Continuación: Todos nosotros sabemos que un producto bueno si está mal promocionado queda en la oscuridad y un producto malo bien promocionado puede convertirse en algo valioso y alcanzar el éxito. Es en este punto donde interviene una verdadera galería de arte, bien gestionada es un verdadero valor para un artista. Si un artista encuentra una galería de arte con calidad de gestión en la promoción del producto estará ante un verdadero socio estratégico. Una buena galería de arte deberá de analizar la obra de arte, el producto, su valor diferenciador, pues cada producto tendrá diferentes atributos, la marca del artista; definir a qué mercado nos dirigimos y cuál es el volumen de mercado; analizar los obstáculos que encontraremos, los competidores, las debilidades propias y las de los adversarios; las fortalezas, las herramientas y recursos de que disponen para emprender el negocio, para la promoción y divulgación… Existen básicamente unos ciento veinte puntos de análisis básicos para estudiar a la hora de emprender un plan de negocio. Se requiere conocimientos sobre el producto o productos y sobre el mercado de los mismos y además de una inversión económica. Con respecto a las comisiones de las galerías de arte si son altas o bajas nada tengo que objetar. Cada uno es dueño de poner un precio al trabajo que realiza. Yo, como artista, tengo marcado un precio neto para el punto de figura y un precio neto el punto de bodegón y de paisaje y no es mi asunto si la galería sobre mi neto cobra al cliente un 25%, un 50% o un 100%, yo cobro por mi trabajo lo estipulado y ellos por el suyo lo que consideren oportuno. Y por supuesto jamás hablaré de dinero con un cliente proporcionado por una galería o un marchante de arte, es ley , no escrita, de honor y de lealtad. Lo idóneo sería el encuentro entre la calidad del producto y la calidad de la gestión en la promoción del mismo, lo que difícilmente suele ocurrir, pero ésto no quiere decir que nos demos por vencidos. Tenemos que continuar trabajando, tanto los artistas como los galerías de arte conjuntamente, para ofrecer al cliente y al público la máxima calidad en producto y gestión. Muchas gracias a todos y un cordial saludo desde Sevilla, España.