Home » Philosophy, business of art
SHOULD YOU GIVE THE GALLERY SYSTEM THE HEAVE-HO?
“And let’s be blunt, an art gallery is a retail business. We can pretend it’s something else and that art is not a product, but it is.” Julie Baker, President of Julie Baker Fine Art (As quoted in THE ARTIST’S GUIDE by Jackie Battenfield)
Disclaimer: My rants in no way are directed to 100% of the galleries. There are some great galleries out there, and I love and appreciate them. The real gist of this article is to encourage artists to find another way.
The art world has changed a lot in the last five years. Artists don’t need galleries anymore, thanks to the internet and a lot of ingenuity on the part of other independent artists leading the way (like artist-rebel Hazel Dooney and Hugh MacLeod).
Three reasons why I encourage artists to bypass the fine-art gallery system: It’s very difficult to support your family by selling art through galleries. I get as mad as a mother bear when artists are taken advantage of. And I get downright belligerent when an organization tells an artist what and how to create art.
Though Drew Brophy and I have had some good experiences with galleries (like the Surf Gallery in Laguna Beach), we’ve had other art dealers tell Drew what to paint, we’ve had paintings “disappear” and we’ve been urged to sign onerous contracts that would be a really bad business move.
It’s the gallery system that takes the art out of art, under the guise of being a purist, when all they are really interested in is the sales of art. Now, I don’t see anything wrong with a retail store, I mean gallery, wanting to make money. Yes, there are many exceptions to this, but I’m not talking about the exceptions right now. The problem I have is the phony art snob which pretends to care about art when they really only care about the bottom line.
Call me crazy, call me commercial, go ahead and claim that I don’t know crap about art. But I’m of the hard-headed opinion that artists should actually get paid well for their work.
Nothing vexes me more than the so called “art experts” saying that artists shouldn’t expect to live off of their talent. I read this over and over again on fine art consultant’s blogs and in books. It’s these same people that DO get paid for their work in the arts (art dealers, gallerists, consultants) that are making these assertions. Why should THEY get paid but not the artist that’s actually creating that which makes these professionals their living? Do you see the irony here?
One popular consultants’ website gives a list of “Everything Your Mother Should have Told you About Being an Artist.” Number #5 on the list says “You will not be able to make a living off of the sale of your art.” This kills me.
Why would you pay for someone to consult you when you can’t earn a living doing what they are teaching you to do?
The truth is, you can make a living off of your art, but not if you follow the old fashioned gallery rules. Drew and I are living proof of it.
Many of the conversations I get into with gallery owners about the rules of art end up in a debate. One oxymoron that I often butt-up against is that art should be kept “pure” and sold in original form or with limited high-end reproductions.
Sure, this is good for the gallery, because they will sell more originals and they get to keep more moola in their pockets. But it’s not good for John-Pierre artiste who has a wife and 3 kids to feed.
It’s an artists’ gift to the world to allow art to be accessible to most everyone, even those who can’t afford an $8,000 original painting. And there’s an easy way to make it accessible – print it on useful items.
And therein lies my problem with the old fashioned gallery system. They don’t want their artists making the art available in forms other than original paintings, because that cuts into their sales. It’s all about the money. “But artists can’t be about the money.” The double standard makes me want to spit nails.
Drew and I teach Business of Art seminars at trade shows and art stores. It’s surprising to me that the most frequently asked question is “How do I get my art into galleries?” I cringe when I get that question. I want to scream “Don’t waste your time!”
But, being the professional that I am, instead I politely detail the standard steps to find your sacred place into the gallery system: put together a portfolio, proper artists’ statement and Bio. Win some meaningless awards, do some residency time and get into a few juried shows. Contact galleries that your artwork best fits in, and take rejection well when you are appropriately snubbed for not having a long enough achievement list on your resume.
Unless you’re already very well established, the gallery system might crush you.
First, getting into a GOOD gallery if your work isn’t guaranteed to sell will be difficult. It costs galleries a lot of money to run their business. They are retail store, after all. They have to be sure your art will sell before they allot wall space to you.
Second, be prepared to pay a 50% commission on each piece to the gallery for selling your art. This means that you’ll have to double your prices just to make it worth your while. (The galleries have to keep 50%. Their brick-and-mortar costs are extremely high.)
Third, be okay with having an art dealer tell you what to paint. Some will stuff your creative side by telling you that “sky-blue color palettes are working right now” or “landscapes are selling this year.” After all, they are in the business to make money. They need you to paint what will sell, not a creative masterpiece.
To be fair, I must add here that there are a few artists doing well with their art being sold through galleries, but that’s all relative to what it means to be “doing well.” Some have to work other jobs because they can’t earn a full time living selling original art. Or their wives are working full time and supplementing their income.
I know one very well known artist in New York City. Her paintings sell in some of the finest galleries. She’s kindly helped other artists by mentoring them. The irony is that she’s a part-time artist and a full-time secretary on Wall Street. Her art is her hobby, and her job is her profession. Nothing wrong with that, but it demonstrates that even a popular fine artist who has representation in many galleries cannot go full-time on fine art gallery income alone.
Many years ago we made the decision to cut back substantially on the amount of work we did with Drew’s art in galleries. We still do exhibits, but only those that are with a group of artist friends or overseas in exotic locations. Instead, we put our energy into art sales where we make a profit. This enables Drew’s art to support our entire family and for us to continue living the life of our dreams.
I’m feeling a little guilty about placing the gallery scene in a less than magical light. But this blog is about helping creative people to design the lifestyle of their dreams. And it’s not a dream lifestyle working a job you hate just so you can sometimes find time to paint for a gallery system that will pay you very little.
I want to give a different point of view to consider. I want artists to stop stressing and realize that having your art in a gallery isn’t that important. It’s not going to make or break your career goals (unless, of course, your goals involve galleries).
Sure, there are some benefits to being associated with a gallery. It gives your artwork credibility, it exposes you to new collectors and it brings you together with other artists. If you’re working out of your own home, it gives a public location to your artwork where you can send your buyers. If your work is a proven seller, your gallery will do the necessary marketing and sales work that so many artists despise.
For fine artists, the gallery system may be a necessary evil, particularly if they are relying solely on original art sales for their income.
But, if your art is accepted in the gallery system, expect to play by their rules. And there are many rules in that world; rules that could stifle your creativity and out-of-the box thinking.
I’ve always been a rebel, and I’ve never been one to join a “system” so maybe that’s why I bristle at the thought of following someone else’s guidelines. There should be no rules in art.
For artists who want to blaze their own path and make their own name for themselves and support their families with their art, there is a better way:
- Sell your art yourself. Sell it in many different formats other than original art.
- Develop a following and a mailing list and nurture it. Hold your own shows in the homes of friends, collectors, admirers.
- Screw the rules. Try different things.
- Concentrate on developing 1,000 fans which will sustain your art career far longer than any gallery can. Use the internet to generate new fans and sell to them.
- Rely on yourself. The reality is that no one really cares about your art career better than you do.
- Take full control of your future. If you don’t know how to, then get yourself educated and learn from others. Read books and blogs of artists who have done it.
- Invest in yourself.
Having your art in a gallery won’t hurt you, and if it’s a good relationship, it can supplement all the other things you are doing with your art career. But know that you won’t be able to depend on anyone else to make things happen for you. You’ve got to do that for yourself.
Now, go ahead and comment below, please. Let me have it!
Maria xxoo
Artists “need to be savvy entrepreneurs. But they are trying, often without much success, to follow a prescribed model of working solely with galleries and keeping their fingers crossed that one day that this tired formula will work. The problem is that 99.9% of the time, it doesn’t. And if it does, too many art galleries fold.” Artist Ann Rea, during interview with Artsy Shark on how Artists can have a Strategy for their Work.
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Tags: gallery system
James V
12. Feb, 2010
Thanks Maria, I really enjoy your blog and all the great stuff you give so freely, Have a good one, James V
Aileen
12. Feb, 2010
I agree that it’s old-fashioned for artists to be dependent on galleries to make or break them. I haven’t had a bad gallery experience, but I deal with cool indie galleries that are sometimes part retail store or hair salon. It would be awesome to be represented by a fancy art gallery someday but I’m not holding my breath! Since I come from an apparel industry graphic design background, I’ve been lucky to have been trained to understand retail and consumer habits. Not everyone has the same budget so why not have something for every level of spending? Originals, limited edition, open-edition prints… Something for every fan!
Archan Mehta
13. Feb, 2010
Maria,
This issue is close to your heart, no wonder you sound upset.
I would not want to meet you when you are in this mood, but I am supportive of your ideas. In fact, for crying out loud…what a shame we still don’t have a handle on this issue…and in this day and age?
Correct me if I am wrong, but it is very difficult to survive as an artist especially in America. In general, Americans tend not to value art and artists so much. America is more driven by materialism, consumerism. The aesthetic culture seems to be missing. In general, Americans tend to be more business-oriented. By contrast, art and artists are actually valued more in other cultures and countries. At least this has been my experience, and a lot of people have told me as well. I have read books and watched documentaries.
However, I am happy for you and Drew–after all, I am your well-wisher–that you are able to make a decent living. I like to see artists who can provide for themselves. I feel very uncomfortable with the “starving artists” who earn fame posthumously or never at all.
If only we had more institutions and organizations supportive of the arts and artists. Unfortunately, too many individuals still consider art passe and think of artists as druggies, social parasites and welfare mom types. In our society, we need patrons of the fine arts. Artists should be encouraged both in terms of material rewards and emotional/moral support. Yeah, right: and pigs have wings!
Dennis T Panzik
13. Feb, 2010
Great article! I’ve always scuffed at galleries myself. First of all it seems they always only want you to display your original. Well that’s fine if you don’t care about it in my opinion. Too many times while in college having done gallery exhibits has my work been miss-handled!
Sure maybe it was an accident. Maybe they really don’t care about my property enough. Either way I’ve refused to hang originals when I can hang a print that looks just as good.
Secondly, many galleries or art shows are WAY TO picky about what can be entered or what style of an artist they’ll let in. Art is appreciated by the eye of the beholder. Who gives them the right to say what should be accepted? I never understood why any artist would be turned away. With the exception that it’s a theme exhibit of course.
I think art shows and galleries are about the same. I’ve often wondered why musicians can go play a gig most anywhere and get paid for playing there. Sure it may not be much but, while they get at least a little something in their pockets, artist have to pay high dollar just to display their work! With hope that they may sell something! Then on top, with galleries, more so than art shows, you have to give the percentage on your sells. Feels like highway robbery if you ask me. They wouldn’t have a show if it wasn’t for the artist.
Of course, I guess they teach in business class that you get rich by using someone else’s money and by being a cut throat. Maybe I can’t blame them. Like you said Maria, we have other avenues; we have a choice.
“I’ve always been a rebel, and I’ve never been one to join a “system” so maybe that’s why
I bristle at the thought of following someone else’s guidelines.
There should be no rules in art.”
Cheers luv ~Dennis
martha
13. Feb, 2010
i broke free of the gallery system a long time ago for these reasons & i won’t go back.
Archan Mehta
13. Feb, 2010
Maria:
Sometimes, these art snobs have fancy credentials, such as advanced degrees in art history and write art criticism in peer reviewed journals and are featured guests on juries and are incredibly well-connected. And fill in the blanks, will ya, please…
Some of them may have an entitlement mentality and may even be hooked on power. Not everybody handles power well, so maybe they look down upon new, upcoming artists who are more experimental.
“Power corrupts and absolute power corrupts absolutely,” is actually a famous, old saying.
There is nothing worse for an artist than having to face a museum curator and a gallery owner who are only interested in sales and profits. How discouraging to be given a lecture about art and unsolicited advice. No wonder many newbies and wannabes fall prey to self-destructive behavior: drugs, alcohol, suicide, you name it.
Maria Brophy
13. Feb, 2010
Thanks, everyone, for your thoughts on this topic. I think it hits a really sore chord with a lot of people. I’d be interested in hearing from those who work in the fine art gallery system and see what they have to say!
Dean J. Baker
14. Feb, 2010
excellent points, Maria
Mike Patterson
14. Feb, 2010
As a hobby artist, I have already made plenty of money by airbrushing, painting and drawing ‘on things’ and then selling those things via ebay, forums, and other internet sources.
There is a local cafe that allows local artists to hang their art in the cafe with a price list for copies…. for free.
I have a career, and I don’t strive to make money with my art… it is my stress reducer but truthfully, I’m making more than enough to keep my supplies topped up and this year our family will be taking a nice ski vacation on the back of some skateboards and snowboards I painted.
Anybody who allows someone else to dictate what you should paint or how you should sell it, is unfortunately paving a sidewalk up their back.
Thanks for the blog Maria.. great points all.
Sue
14. Feb, 2010
AMEN Girl! I stay away from those pretentious snobs who think they KNOW art because they took some classes and got a piece of paper! Not only in the galleries, but these types of people can be found in art co-ops, show organizers, schools, art supply stores, agents, etc. They’re everywhere! Ironically – a lot of the people I’ve encountered with this obnoxious attitude DON’T or CAN’T actually produce art!
Art should be POSITIVE! You should produce it because you can’t think of anything you’d rather do! It excites you! And if you want to make a living at it – you WILL do it! You will find the avenues for sales, if you just look for them – and try different things! Be confident!
I don’t think any artist making a living with their art will say that they get all of their salary from one venue or stream! Everyone I know – that’s successful at it – receives income from many places, and when it’s added up… a LIVING is formed! I tell people it’s like a tree — the trunk is the original art piece, the branches are all the forms of production and sales (prints, magazine articles, licensing (in many different media), greeting cards, etc. What you need to strive for is a full, healthy tree! hehe
Galleries are NOT the be all and end all of being a successful artist! Neither is getting an art degree! Just follow your OWN heart!
Love your blog Maria! I really enjoy your take on things! A woman after my own heart! And tell-it-like-it-is attitude! Keep up the great articles!
Giulietta Nardone
15. Feb, 2010
Hi Maria,
This reminds me of self-publishing for art! A good way for artists to take back their power.
Way too may of us spend our entire lives looking for permission and acceptance from others, when it really needs to come from within. Why not make your own gallery!
Thanks. Giulietta
Philip
24. Feb, 2010
Maria – This is incredibly helpful. Your blog is full of great insights and inspiration! Thanks, Philip
Sari
27. Feb, 2010
I pay one third commission to any gallery who sells for me. The 50 percent thing got tired. So…Please don’t assert that 50 percent thing. The old way was always one third commission. It is traditional. I have re-adopted one third max as the commission I pay. Please pass the word along. 50 percent was way too much …If all artists form some solidarity back to one third as standard commission we will be able to get this thing back in check. Thanks, Sari…
Maria Brophy
27. Feb, 2010
Sari, thanks for pointing this out! Yes, 30% is another way to go, and it’s for sure preferable!
I agree, if all artists encourage galleries to go with 30% to the gallery and the rest to the artist, than the entire system would go back to that.
You’ve got me convinced. I will no longer say 50%. Thank you!
Sari
27. Feb, 2010
Hi gorgeous dollface!
Remember, one third is actually about 33.33 percent, a little more than 30 percent. One third was traditional throughout the art world of old.
So if you are asking $900 dollars retail, the gallery takes 300 dollars, you keep 600 dollars, which covers 300 dollars in your costs & you get 300 as profit…Divide by three, you keep 2 parts, gallery gets one part.
Sari
p.s. You can just say “I’ll give you one third of the retail take”…
anita
11. Apr, 2010
when querying a price recently, i was informed that what ever the frame costs add the same for the artist and the same for the gallery, ie a third. i know the gallery and framer have overheads, but how wrong is that.
great information, great site.
Jennifer Mathis
08. Mar, 2010
My experiences with galleries are few, as I’m just starting out; but what I *have* experienced has left a bad taste in my mouth. I can’t get past the 50% cut part. It just seems wrong for me to do the lion’s share of the work, and give someone half the sale for letting me use their wall.
I know that not all galleries are like this, and some really work hard to promote an artist’s work (earning that 50%), but I haven’t gained entry to such a gallery yet.
Links – March 12, 2010 « Beautiful Flower Pictures Blog: Floral Photography by Patty Hankins
12. Mar, 2010
[...] Brophy has Should You Give the Gallery System The Heave Ho and Are You Selling or Making a Contribution? It’s All In Your [...]
Kelley
14. Mar, 2010
I really enjoyed reading this post. I do know some artists who sell solely through the gallery system do very well, because my husband worked full time for a very prolific and enormously successful artist until her death almost two years ago. But because of that experience, I also know how badly some galleries mistreat artists. I know a couple of great gallery owners, but I’ve heard horror stories about others. And yes, 50% commission is the norm at most galleries. I currently have some of my jewelry in 2 shops and 2 galleries, and I also sell artwork and jewelry online and at shows and home parties. I much prefer having more control and getting more of the profits from my sales. I’m considering pulling my work out of the galleries and focusing more on the lower commission shops and selling more of my work myself directly to customers.
Kelley
14. Mar, 2010
Replying to my own comment. I said 50% was the norm at most galleries, and unfortunately it is–at least at the very high end galleries where that artist my husband worked for sold her work. The two galleries I sell at are closer to the 35% mark.
Maria
14. Mar, 2010
Kelley, thanks for commenting and for your information. It’s so helpful to find out what other artists experiences are. I think 50% can be high, particularly if the artist is paying for the framing. If the gallery pays for it, it’s reasonable. But there are just so many variables to consider….
Lori Woodward
22. Apr, 2010
Maria,
Couldn’t have said any of this better myself. You and I think an awful lot alike. I too often get asked how does an artist get gallery representation.
Funny thing is, not one artist I know got into a gallery with a submission – it was always by recommendation from another artist or collector. One popular gallery recently admitted to one of its artists that they have submissions they’ve never looked at that have been sitting around for 5 years. They just don’t make artist submissions a priority – and why should they when they choose via competitions and magazine articles.
I’m with you, I think artists can do much better on their own these days. Of course that means investing in our own art marketing, but even marketing can be done rather inexpensively these days with the Internet.
You’ve got the guts to say things as they are… for most artists. Very few make a living through galleries… many more make a living without them or with a combination of venues.
No gallery should tell us how to run out business. We pay them a commission to be our sales people. We don’t work for them, they work for us. I’m tired of being told what and how to paint. Ooh… don’t get me started …. lol.
Lori
Mako Fufu
25. Apr, 2010
Wow! I had no idea about all of this.
I´m reading it all!!.
Well, this year I´ve got accepted on a gallery on NY. They asked me money upfront for a representation, plus a commission for the sales. I was ok with the commission, but I hadn´t the money to pay upfront. And it wasn´t cheap!
It´s really interesting to get to know about all this info. In fact, I find all your articles really interesting. I´m glad I´ve stumbled upon your page
Thanks a lot for making this!
I´ve already subscribed to your newsletter!
Hugs,
Mako
Maria Brophy
26. Apr, 2010
Mako, I would say NEVER pay someone money up front to market your work unless they are guaranteeing a certain return, as well as a laundry list of what work they will do each week to market you. It would be cheaper to hire a personal assistant – but I think most artists are capable of marketing themselves just fine.
Tanya
13. Jun, 2010
Once again, a VERY helpful article. This is perfect timing that I found your blog- i have been lost on here for hours!! thank you so much for sharing your experiece and expertise!
Maria Brophy
13. Jun, 2010
Thanks, Tanya. I’m so glad you found my blog!
Here’s a great article on the topic of artists and galleries working together on Lori McNee’s site: http://www.artprintissues.com/2010/05/visual-artists-challenge-should-i-work-with-galleries-go-direct-to-collectors-or-both.html
It’s more food for thought on this subject!