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Kathleen
Posts:8
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| 08/11/2007 4:14 PM |
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Dear fellow artists,
I am opening a fine art gallery and would love to hear what your "ideal gallery" would include. I'd like your opnions on policies, contracts, exhibits, receptions, and any other subject you have an opnion on. Well, you know....gallery related subjects, not your mother-in-law or your politics.
Thank you, Kathleen
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Llarian
Posts:44
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| 08/14/2007 10:06 AM |
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Hi Kathleen,
Although I have sold many, many paintings, I have not exhibited in a gallery before for several reasons, mostly pertaining to the fact that I don’t like the way the ones in my area posture themselves as snooty know it alls. I would personally consider gallery representation if the right opportunity came along, but I don’t seek it out- I am too busy painting, and I am in a position of not having to sell my work to survive, thank goodness.
Many galleries seem very intimidating to the "emerging artist." and the novice collector alike. I go to galleries frequently, and in my area, gallery staff typically act very full of themselves. They are probably trying to instill confidence that they really know what they are talking about, but it usually backfires and is a huge turn off to all but the snobbiest buyers and potential exhibitors. I find that art buyers and wine drinkers fall into two categories: Those that know themselves and know what they like, educated palate or not, and those that are trendy and can't think for themselves and need someone to tell them what they should like. For the average collector who knows what they like, a staff person should be friendly, polite, knowledgeable and willing to share their knowledge about art , and more importantly, willing to find out what the client likes and help them make good purchasing decisions, so they will be repeat customers. They should make it easy for a client to learn and ask questions in a non-threatening environment. Because really, unless you are dealing with recognized masterworks, art is furniture and accessories, like a sofa, a bedspread, or a choice of floor covering.
Here are some ideas I have for you to make it easy and painless as possible:
A. Have a flyer or something that the potential artist can pick up, non- confrontationally and without feeling like they are imposing, or have a website information form they can fill out and submit. I suggest having a standard portfolio format guideline, so that you get information from artists in a way that suits your filing system, so you can stay organized. If they want to exhibit with you, they will conform to reasonable submission guidelines. I also would suggest having both online and hard copy submission if possible. Or maybe an initial online submission to be followed with slides or prints in a portfolio if you request one. Tell the artists to send a SASE or call tag for portfolios that don’t fit with your vision so they can be returned.
B. If you want your gallery image to be open and inviting, train staff to be down to earth and truly friendly. Few people like a boorish snob. Buying art, like buying anything else, is an emotional decision. People buy based on how they feel about the art, the sales staff, the gallery itself. If they feel welcome, important, and like an honored guest instead of an interruption, they are more likely to buy. Since you have been in business with your ballet studio, I am sure you know this already.
C. Train staff not to judge a book by its cover- some people dress like they can afford it, when they really can’t, while others look like they don’t have two nickels to rub together when they really do. Staff should treat everyone equally. I often go to galleries where I intentionally dress neatly, but not expensively, just to see how they act. Typically I get the cursory glance and cool distant greeting, and then the person returns to their paperwork. However I can wear a big rock around my neck and a snazzy outfit, and they are all over me like white on rice. Go figure!
D. Personally, I would like to have a “trial period” with a gallery for not less than 90 days (if there is a seasonal clientele I would want my 90 days to be in the busy season), and not more than one year. Then, if the work is selling and everyone is happy, the relationship can continue. If not, no harm, no foul.
D. If you don’t have really deep pockets but want to survive, make sure you recruit an artist or two who will do commissions, including portraits, landscapes, home portraits or beloved pet portraits, etc. and advertise this fact, because these sell consistently, especially if you have a convenient payment plan for clients. Also, if a client would buy a painting if the cottage in it had red shutters instead of blue, an artist who is willing to paint the shutters blue if that’s what it takes to make a sale is of great benefit to you.
E. As a business owner, I can say this: have something for everyone, at least until you figure out where you are going as a gallery. Those small purchases add up and can help pay the rent. Our local art league gallery has a “gift shop” in a small room adjacent to the main gallery and across from the office that has small prints, handmade jewelry and fashions, home accessories, gift cards, etc. because they sell well.
F. Take care of artists’ work- that goes without saying! Do not allow pieces to be taken home on trial without ensuring that they will be protected and paid for if something happens. Better yet, make sure pieces are insured and have a means for staff or yourself to deliver, set up and pick up art so it is in knowledgeable hands at all times.
G. Get an exclusive contract for your area with your artists. You don’t want the gallery down the street selling Joe Blow’s art too, or worse yet, Joe Blow selling out of his studio at reduced prices two hundred feet, or even two hundred miles, away. I’d want you to have a website to promote my artwork and make sales online.
H. I would want a black and white contract that spelled out how many new paintings I would be expected to submit each year; how long you would show them before returning them to me; how and how often you would promote my art; what happens if art is lost stolen or damaged; what your commission rate is; what areas I would be expected to sign a no compete clause for; whether having my work on a website would be a problem; Whether you would expect me to do commissions, of what, and how often; Where my work would be shown (i.e. main gallery, emerging artists gallery, the bathroom, or whatever.) ; what you plan to do to protect me should you become insolvent, framing issues, and how often I am expected to make an appearance- to name what comes to mind quickly.
I. I’d want you to be accessible to me, and open to discussing my work and your plans, because I would want a long term relationship where we could be open and honest about my direction as an artist, your goals as a gallery owner, and how we could both make money and enjoy the process.
J. As a business owner who has started a successful retail business from the ground up, I initially thought my business would cost $35k to start up and operate for 6 months, which is how long I thought it would take to break even. It really cost about 150k and took just under three years to become solvent. Make sure you plan accordingly and have deep enough pockets to carry you through. Since you already have a business, I know you know this.
K. Above all, if things start to “go south” and you cannot keep your doors open, be honest and upfront with your artists. The horror stories about gallery owners absconding with art and commissions, and leaving salaries unpaid and debts due abound. Most artists cannot afford to be caught up in legal wrangles with their art held hostage for money owed by the gallery owner to creditors. Make sure their work gets returned to them.
Hope this helps.
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Kathleen
Posts:8
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| 08/14/2007 9:14 PM |
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| Llarian, You put a lot of thought and time into your answer and I thank you. I will study it carefully, I printed it to share with my employees. Thank you again for all you ideas! Kathleen |
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