A significant goal for almost any artist is to work with an art gallery. Sadly, more artists are looking for gallery representation than galleries are looking for new artists to represent.
As we have discussed in our in-depth article on How To Succeed as a Painter/Artist, do not contact galleries by the dozen, sending out artist statements and portfolios introducing yourself out of the blue. The truth is that galleries receive unsolicited submissions by artists daily. So if you send out portfolios to multiple galleries, your request will most likely be ignored or thrown on a high pile of other submissions. Even more, most galleries don’t like to be contacted all the time, being asked to invest in people they don’t know. As a result, due to this strategy, there is a genuine threat you will have a bad name among galleries.
The reason is that the ‘better’ artists get invited by galleries. So, if you ask around looking a bit desperate for gallery representation, gallerists will think you are not a very good artist, as it seems no one is willing to represent you. But this does not mean there is nothing you can do to increase your chances of being represented or being invited by a gallery to work together.
In fact, we have discussed many things you need to know to get noticed in the art world in our article How To Succeed as a Painter/Artist.This includes genuinely distinguishing yourself with a very personal style, having a solid vision and knowledge when it comes to art and art history, a well-documented and mature oeuvre, a professional online profile including your artist website and social media, decent exhibition history, and resume and more importantly being proactive when it comes to networking in the art world.
The key is to invest in personal relationships with other artists, gallerists, collectors, and critics by attending openings, lectures, and other art-related events. However, don’t impose yourself as an artist. It is okay to let people know you’re an artist when they ask you, but don’t talk about your art or show pictures of your works when not being invited to do so. By being around, you are way more likely to get invited by any art gallery as your name will inevitably circulate in the right circles of people.
What is the Artist-Gallery Working Agreement?
The working relationship between artists and gallerists can vary from gallery to gallery and artist to artist. However, there are some general unwritten rules and agreements. If you are an artist who is about to work with a gallery for the first time, or you are a brand new gallery that is uncertain about how to go about collaborating with artists, we have listed to most common agreements below:
- The gallery does not charge the artist any commission or fee for its representation or promotion activities. The only way a gallery (or artist) earns money is by the manner of selling artworks produced by the artist.
- Profits by sale are shared regularly of a 50-50% agreement of the turnover. This means the materials are not deducted from the turnover or other constructions in which certain costs would be deducted from the total turnover.
- The artist defines the retail price in agreement with the gallery with a written price list listing the consigned works for sale. The artworks remain the property of the artist during this process. In agreement, the gallery may offer a 10% discount for specific clients but only with the artist’s prior permission. In the case of a museum institution willing to acquire an artwork, it is possible to offer up to 50% discount due to the destination and positive consequences for the artist’s resume. In all cases of discount agreements, the 50-50% rule remains when splitting the turnover.
- It is not done for the artist to sell an artwork alone, which is consigned for the gallery to sell during a specific exhibition. For instance, if a collector contacts the artist instead of the gallery to buy a particular artwork from the show, it is the responsibility of the artist to refer the collector back to the gallery. Selling the artwork by himself and leaving the gallery out of it to have his fair share is an absolute ‘no-go’ as collaboration is based upon mutual trust and respect. In some cases, the artist will be the one who makes the gallery more money and sometimes vice versa.
- When it comes to the costs, there is a very clear rule: the production costs of the artworks are (most often) covered by the artist (think of paint, canvases, et cetera), whereas the production costs of the exhibition are at the expense of the gallery (think of painting the walls in a specific color, the print work for the show, drinks during the opening of the exhibition, pedestals, display cases, and arguably frames to name a few).
- Regarding transportation costs, the more established galleries will pay all freight charges. However, this is most likely the case with established artists. With emerging artists, a widespread agreement is the artist pays for the transport from the art studio to the gallery. In contrast, the gallery covers the transportation costs from the gallery to the collector or back to the artist’s studio.
- As soon as the artworks arrive at the gallery, they become fully liable in case of loss, theft, or damage. As a result, it is the gallery’s responsibility to ensure they are well insured and handle the artwork professionally and securely.
- The gallery does all invoicing and communication with the collectors. The only thing the artist must do is to send an invoice by the end of the show to receive his half of the turnover.
- All images remain the artist’s exclusive property and are protected by international copyright law. All use beyond web publishing, catalog publishing, or promotional use needs a prior agreement with the gallery.
To be sure, it is advised to discuss these topics before collaborating. Write these agreements down in your email correspondence so that you can refer to this prior written agreement when there is a quarrel. Sometimes, a contract can be necessary or advised. However, most galleries work based upon trust and mutual respect with their artists, so don’t be too suspicious when they do not propose to conclude a contract.