Lessons and Confessions of a Gallery Owner
I love owning a gallery. I love art and I love artists. I am devoted to helping artists develop the skills they need to manage their careers. I and dumbfounded at times by some of the things artists do.
My gallery works with a lot of emerging artists, that is to say, many of the artists that show with us are recently out of school or new to the business of art. I learned pretty quickly that making art and the business of art are two very separate things. Just because you have a space to hang art and have art openings, there is no guarantee that you will sell the art. Most likely you will be lucky to sell anything for a long time. A lot of gallery owners including myself pay the bills through a variety of revenue streams. Art sales wouldn't support many galleries without someone with either deep pockets or a diverse way to drive revenue. I have a mixed-use space.
Our resident artists are tattoo artists with fine art skill sets. Our art is a little more edgy and appeals to a younger crowd. By virtue of that face, we try to keep our prices affordable so entry-level collectors and every day people can participate in the art market. It is a pretty new idea in the world of art galleries. It brings a sophistication to what some consider "low-brow" art. I like to focus on artists that are from the relatively local area. That increases the traffic in the gallery because people want to support artists they know personally.
We have had some openings that went really well and some that I just couldn't wait to be over. A lot of that has to do with the artist and their attitude toward the show. Group shows with multiple artists are different. I am referring to the solo shows or a show with maybe two artists. I have had art showing in the gallery that I considered buying for my own collection only to change my mind because of the attitude of the artist.
This may sound harsh and it may be hard to hear but if you are an artist new to showing your work in a gallery, you need to pay attention and do some work on your technical presentation as well as hone your social skills around collectors, curators and gallerists. I have learned some tough life lessons along the way about managing expectations and establishing each of our roles during a show. I do not speak for all gallery owners, but I have suspicion that they deal with the same kind of drama from time to time or at least did so early on in their careers.
Here is some practical advice for an artist that is showing for the first time or who stands at the beginning of a long art career path.
1. Make sure you present your art ready to hang. Make it look good. If you want premium pricing, go the extra mile and dress up your presentation. Clean it before bringing it to the gallery. I am not a fan of unframed art. If you are showing art on a canvas, either frame your work or finish the edges so it doesn't look like it belongs in your studio unfinished. Gallery wrapped canvas can alleviate your need for framing if you buy canvases that have thicker stretcher bars. You do not have to spend a fortune on frames. I suggest that you paint in standard sizes where commercial frames are readily available. If you work is a drawing, watercolor or photography, consider spending money on matting. It will make your work look very aesthetically pleasing and finished. It will also keep the glass off your work by creating a buffer.
2. Understand how the gallery hangs their art. Saw tooth hangers are not acceptable in most galleries. It is fragile and cheapens the look of the finished work. If you do it yourself, cover the back of your canvas with brown paper and buy wire hanging kits to finish off the look. These are inexpensive easy to install and much more secure than other types of hanging conventions.
3. Do not assume that the gallery will let you have input in how your art is hung. On the contrary, most galleries and curators are satisfied that you drop off the art and not show up again until opening night. Early on in our gallery history, we had an very new artist that drove us crazy wanting to be in charge of everything from hanging to calling the gallery every day to see if anything sold. It was among the worst experiences I have had with an artist. I will never work with that artist again as a result of their behavior toward the gallery. Remember, we want to sell your art as much as you do. Do your part and invite people to come view your art. Let us do our job.
4. Do not show up late to opening night. Look your best. Do not roll in from the beach or have paint in your hair. It is ok to be trendy and eccentric but if you do not look like you care about your show, no one else will either. Do not be overly casual about what you are doing. This is a big deal and someone believed in your work enough to let you hang it on their walls.
Being present is especially important if your art is more abstract and may be received better with some narrative. Most collectors that come to openings like to meet the artist. They want to understand what drove them to create their works. In some settings, we have had artists work on an unfinished piece during a show. It can draw a lot of interest and conversation. It is not the time to run off to other galleries on art walk night leaving the gallery staff and curators to tell your story. Don't be a wall flower either. When you are at the show, do not hide in the corner with your friends and become unapproachable. Almost all our communication as human beings is non-verbal. Make eye contact and be friendly. Don't get drunk and make a fool of yourself. I guarantee you will have a bad outcome if you don't follow this advice. Besides the gallery being done with you for all eternity, no one wants to have your art on their wall and think of how inappropriate the artist was at the opening every time they see it.
A good artist statement has great value if the show will hang beyond opening night. Work with your gallery owner or curator to help you perfect your statement.
5. Do not come to an opening with your business cards. Most galleries will not receive this well. It gives the impression to the customer that once the show is over, they can contact you directly and avoid paying a gallery commission. I do not know one gallery owner in my town that doesn't need to get paid. Galleries do not typically make a lot of money. They count on the commissions to pay the rent and keep the lights on. I once had an artist bring cards to a show and then work out a deal on the side with someone I knew no less. I found out about it and my relationship with the person I knew has never felt the same. The artist asked for another show sometime later and I didn't return their call. Use common sense and put yourself in the shoes of the gallery owner. It isn't all about you.
6. Do not negotiate price with a customer at the art opening. Refer them to the gallery staff. It will draw attention for you to start negotiating your pricing at a show and you can guarantee yourself that you will never get the price you post again. You just hung a big discount sign around your neck.
7. Understand the value of your art. I have artists sign a waiver of liability. If something happens, it is very difficult to put in a claim through insurance for the gallery price of a work. Insurance companies may require an appraisal of the art to cover expensive works. An artist has the option to secure their own insurance or sign a waiver. It is very important that you read the fine print and ask questions. Ask the gallery about their security and what they cover if anything.
Lastly, after it is all said and done, say thank you to the gallery owner, curators and staff for hosting you in the gallery. They took the time to show your work and spent money on your show. Even if you do not sell art at your show, you gained experience that will help you with your next show and you will not end up on the unspoken black list that I keep in my head.
My gallery works with a lot of emerging artists, that is to say, many of the artists that show with us are recently out of school or new to the business of art. I learned pretty quickly that making art and the business of art are two very separate things. Just because you have a space to hang art and have art openings, there is no guarantee that you will sell the art. Most likely you will be lucky to sell anything for a long time. A lot of gallery owners including myself pay the bills through a variety of revenue streams. Art sales wouldn't support many galleries without someone with either deep pockets or a diverse way to drive revenue. I have a mixed-use space.
Our resident artists are tattoo artists with fine art skill sets. Our art is a little more edgy and appeals to a younger crowd. By virtue of that face, we try to keep our prices affordable so entry-level collectors and every day people can participate in the art market. It is a pretty new idea in the world of art galleries. It brings a sophistication to what some consider "low-brow" art. I like to focus on artists that are from the relatively local area. That increases the traffic in the gallery because people want to support artists they know personally.
We have had some openings that went really well and some that I just couldn't wait to be over. A lot of that has to do with the artist and their attitude toward the show. Group shows with multiple artists are different. I am referring to the solo shows or a show with maybe two artists. I have had art showing in the gallery that I considered buying for my own collection only to change my mind because of the attitude of the artist.
This may sound harsh and it may be hard to hear but if you are an artist new to showing your work in a gallery, you need to pay attention and do some work on your technical presentation as well as hone your social skills around collectors, curators and gallerists. I have learned some tough life lessons along the way about managing expectations and establishing each of our roles during a show. I do not speak for all gallery owners, but I have suspicion that they deal with the same kind of drama from time to time or at least did so early on in their careers.
Here is some practical advice for an artist that is showing for the first time or who stands at the beginning of a long art career path.
1. Make sure you present your art ready to hang. Make it look good. If you want premium pricing, go the extra mile and dress up your presentation. Clean it before bringing it to the gallery. I am not a fan of unframed art. If you are showing art on a canvas, either frame your work or finish the edges so it doesn't look like it belongs in your studio unfinished. Gallery wrapped canvas can alleviate your need for framing if you buy canvases that have thicker stretcher bars. You do not have to spend a fortune on frames. I suggest that you paint in standard sizes where commercial frames are readily available. If you work is a drawing, watercolor or photography, consider spending money on matting. It will make your work look very aesthetically pleasing and finished. It will also keep the glass off your work by creating a buffer.
2. Understand how the gallery hangs their art. Saw tooth hangers are not acceptable in most galleries. It is fragile and cheapens the look of the finished work. If you do it yourself, cover the back of your canvas with brown paper and buy wire hanging kits to finish off the look. These are inexpensive easy to install and much more secure than other types of hanging conventions.
3. Do not assume that the gallery will let you have input in how your art is hung. On the contrary, most galleries and curators are satisfied that you drop off the art and not show up again until opening night. Early on in our gallery history, we had an very new artist that drove us crazy wanting to be in charge of everything from hanging to calling the gallery every day to see if anything sold. It was among the worst experiences I have had with an artist. I will never work with that artist again as a result of their behavior toward the gallery. Remember, we want to sell your art as much as you do. Do your part and invite people to come view your art. Let us do our job.
4. Do not show up late to opening night. Look your best. Do not roll in from the beach or have paint in your hair. It is ok to be trendy and eccentric but if you do not look like you care about your show, no one else will either. Do not be overly casual about what you are doing. This is a big deal and someone believed in your work enough to let you hang it on their walls.
Being present is especially important if your art is more abstract and may be received better with some narrative. Most collectors that come to openings like to meet the artist. They want to understand what drove them to create their works. In some settings, we have had artists work on an unfinished piece during a show. It can draw a lot of interest and conversation. It is not the time to run off to other galleries on art walk night leaving the gallery staff and curators to tell your story. Don't be a wall flower either. When you are at the show, do not hide in the corner with your friends and become unapproachable. Almost all our communication as human beings is non-verbal. Make eye contact and be friendly. Don't get drunk and make a fool of yourself. I guarantee you will have a bad outcome if you don't follow this advice. Besides the gallery being done with you for all eternity, no one wants to have your art on their wall and think of how inappropriate the artist was at the opening every time they see it.
A good artist statement has great value if the show will hang beyond opening night. Work with your gallery owner or curator to help you perfect your statement.
5. Do not come to an opening with your business cards. Most galleries will not receive this well. It gives the impression to the customer that once the show is over, they can contact you directly and avoid paying a gallery commission. I do not know one gallery owner in my town that doesn't need to get paid. Galleries do not typically make a lot of money. They count on the commissions to pay the rent and keep the lights on. I once had an artist bring cards to a show and then work out a deal on the side with someone I knew no less. I found out about it and my relationship with the person I knew has never felt the same. The artist asked for another show sometime later and I didn't return their call. Use common sense and put yourself in the shoes of the gallery owner. It isn't all about you.
6. Do not negotiate price with a customer at the art opening. Refer them to the gallery staff. It will draw attention for you to start negotiating your pricing at a show and you can guarantee yourself that you will never get the price you post again. You just hung a big discount sign around your neck.
7. Understand the value of your art. I have artists sign a waiver of liability. If something happens, it is very difficult to put in a claim through insurance for the gallery price of a work. Insurance companies may require an appraisal of the art to cover expensive works. An artist has the option to secure their own insurance or sign a waiver. It is very important that you read the fine print and ask questions. Ask the gallery about their security and what they cover if anything.
Lastly, after it is all said and done, say thank you to the gallery owner, curators and staff for hosting you in the gallery. They took the time to show your work and spent money on your show. Even if you do not sell art at your show, you gained experience that will help you with your next show and you will not end up on the unspoken black list that I keep in my head.