Let’s take a look!

Many myths surround the art world and, specifically, art galleries. It’s essential to separate the true from the false.

MISCONCEPTION: ART GALLERY OWNERS LIVE LAVISH LIFESTYLES

The Art Industry is often alluring to outsiders because of what it appears to them to be. People tend to associate it with money, prestige, and glamour, but it is nowhere as glitzy as it seems.

Note that generalizing either of the two statements would be a huge misconception, so we will not attempt to do so. Still, we can freely say that the overwhelming majority of gallerists aren’t in it for the money. Instead, they are in this line of business for one reason – because they are passionate about art. And that’s what helps them navigate the booming art world and the competitive art market – passion and dedication.

Plus, nothing significant separates a gallerist from any other business owner. Just like them, gallerists have their fair share of ups and downs. But if we were to make it a bit more challenging, we could say galleries do not serve any necessity. Instead, they’re merely an item of luxury. Therefore, the owners rarely really have a 100% certain monetary benefit.

Some gallerists live a life of luxury; some do not. It would be a misconception to make any generalizations.

MISCONCEPTION: GALLERIES ARE LOADED WITH MONEY

Yet another common misconception relating to the seductive image of running an art gallery is that galleries make huge profits. If only that were true! But unfortunately, it is not. Many galleries, particularly the smaller ones, are barely getting by these days. Merely renting an exhibition space takes a large chunk of their profits. Now add to that the costs of marketing, production, shipping, and insurance, and you’ll understand why most would agree that the opposite is far more often the case.

MISCONCEPTION: GALLERY REPRESENTATION WILL MAKE ONE’S CAREER AS AN ARTIST

Not true. There is much more to becoming a successful and established artist than merely putting your art in the gallery. There is no such thing as an instant fix and overnight success. It happens gradually over time. And it takes a lot of dedication, hard work, consistency, and planning to make any headway in the art world. It is a series of peaks and valleys and trials and errors until one has reached a steady and successful track record of exhibitions, sales, and accomplishments.

Getting art gallery representation is not a way to jumpstart your career as an artist. That takes a lot of hard work and dedication. Therefore, getting gallery representation will not make one’s career as an artist, but it is one step forward in the long and arduous journey.

MISCONCEPTION: GETTING A GALLERY SHOW MEANS THE ARTIST IS AUTOMATICALLY GOING TO SELL A LOT OF THEIR WORK AND MAKE A LOT OF MONEY

Also, not true. There are no guarantees whatsoever that merely showing at a gallery means the artist will sell all the artwork and fetch a handsome amount of money. Gallery shows offer exposure, but it is up to the artists to make the most of it. So, work hard and spare no effort.

MISCONCEPTION: GALLERIES ONLY SHOW ‘SALABLE’ ART

Naturally, any seller would prefer items that sell easily. And galleries, too, want the art that they display to be top-notch, no doubt about that. However, galleries do not decide what pieces to show based on their salability alone. Far from it.

The art industry is an exceptionally unique world of exploration, discovery, innovation, learning, expression, inspiration, and creativity. Thus, galleries are a lot more than just cold selling machines. That is one of the most common misconceptions about art exhibits, whereas, for the most part, it is the passion that drives them. They love bringing new art and budding artists to the public eye all the time. What’s more, they have the utmost faith in the artists they show and sincerely believe that the work they create is worthy of showing – whether they ultimately end up selling or not.

MISCONCEPTION: ART SELLS ITSELF

One of the most common misconceptions about art galleries is that all gallerists do is sit around and wait for clients to pop in and buy the artwork. This is not the least bit true – no art sells itself. The opposite is far more often the case. Galleries must promote the show and bundle their forces with the artist to convince potential buyers that a piece is worth adding to their collections. A collector may like a work of art, but that doesn’t necessarily mean they want to buy it. There’s a difference between liking and purchasing. That difference is called selling. Gallerists spend all day, every day, bending over backward to make artwork sales.

A visitor liking a work of art is one thing. Them making a purchase is another.

MISCONCEPTION: ALL ARTISTS HAVE TO DO IS BRING IN THEIR ARTWORK

The opposite is not the least bit true, either. Galleries are not responsible for doing all the work while the artists kick back, cross their fingers, and hope for the best. Selling art is a full-time job, of course. However, active and ongoing participation from both parties is crucial for any thriving gallery/artist relationship. Only if they work side by side can everyone’s reputation benefit.

MISCONCEPTION: ART SHOWS ARE ONLY FOR WEALTHY PEOPLE

One of the most common myths about art galleries is that they are only meant for the rich. Sure, there are some exhibits out there that can be on the expensive side. But then again, many others are affordable or even free. One does not have to be a collector or rolling in it to be able to enjoy and appreciate fine art.

Countless other statements could easily find their way to our list of the most common misconceptions about art galleries. However, there’s only so much that we can cover. Hopefully, we’ve managed to debunk at least some of the falsehoods circling the art world.

Author’s Bio: Kendal Timms is an art lover, self-proclaimed bibliophile, mother of three wonderful children, and soon-to-be grandmother. As a retired art teacher and art collector, she has a remarkable talent for instilling art appreciation and encouraging open-mindedness and creativity, which is why she started writing creative articles about various art-related subjects, including practical how-to blog posts for moving companies like Zippy Shell Columbus.

The post The Most Common Misconceptions About Art Galleries appeared first on Art Business News.

James Baldwin, whose lived experience was sitting at the intersection of both American anti-Black racism during the civil rights era and anti-LGBT fervor had perhaps a more poignant addition to the “life imitates art” discussion going on over the past 2,000 years of intellectual dialectic. James Baldwin said, “Life is more important than art; that’s what makes art important.” When cultural spaces, art galleries, and other curators of artistic tradition fail to see this simple truth—that life supersedes art—they will fall prey to the white supremacist traditionalism that turns Black suffering into an exhibit.

The biggest mistake white curators and gallerists can make is to ignore Black voices or egregiously sidestep Black involvement while promoting Black art. This unsurprisingly is a common practice among well-respected galleries and art spaces.

CASE STUDY: THE WHITNEY MUSEUM

The Whitney Museum in NYC sidestepped and undercut Black artists to create an exhibit highlighting responses to the BLM movement and the COVID pandemic in 2020. The museum experienced severe pushback and calls to cancel the show via social media when the featured Black artists found out that their work was acquired without their knowledge at a discount.

The Whitney Museum reached out to the featured artists, informing them that their work had been acquired and that they would receive lifetime passes to the museum as compensation. The museum had announced the exhibit, titled Collective Actions: Artist Interventions in a Time of Change, before informing the artists and acquiring consent.

Not only was this move a blatant attempt by the Whitney Museum to cash in on a profoundly crucial social movement to demand respect for Black lives in response to systemic racism in the US, but the Black people behind the artworks were left out of the conversation entirely. Treated as an afterthought, they were denied agency by a powerful, mostly white institution.

This is not how galleries and art museums support anti-racism. This behavior commodifies Black suffering and further entrenches anti-Black racism by exploiting Black artists to appear progressive. Luckily the Whitney Museum canceled the exhibit.

HOW CAN MUSEUMS AND ART GALLERIES DO BETTER?

There are several ways museums and art galleries can actually help fight anti-black racism in the United States. Most of the changes have to start within the institutions themselves.

THE RACIAL MAKE-UP OF MUSEUM TRUSTEES NEEDS TO BE MORE DIVERSE

In 2017, the American Alliance of Museums (AAM) surveyed its members and found that nearly half of the museum boards in their association, which totals 850 institutions across the US, were entirely white. Museum boards with a more diverse make-up were still vastly skewed toward whiteness.

This shocking case of self-reporting by the AAM was an important inflection point for museum boards to take action and incorporate diversity into their ranks. Some have made progress diversifying their boards, but more progress is needed.

WHO GETS TO TELL THE STORY?

Museum donors and trustees strongly influence not only the types of exhibitions featured in their museums but also the narrative behind the artworks and, consequently, the narratives behind the artists.

Art curation is more than simply hanging paintings on a wall—it is meant to tell a story. When the writers of that story are mostly white, museums end up creating and recreating the Whitney Museum disaster.

THE RACIAL MAKE-UP OF MUSEUM STAFF NEEDS TO BE MORE DIVERSE (ACROSS ALL ROLES)

A 2015 study found that the racial make-up of museum employees was more homogenous than the actual demographics of the US, which at the time were 62% white and 38% non-white. On average, 76% of museum staff were white, and only 24% were people of color.

Then, in a follow-up study three years later, the numbers had improved slightly—72% of museum staff across the US were white, and 28% were people of color.

However, these improvements were unevenly distributed across various roles in museums. Most of the changes happened in curational and educational departments, but museum leadership roles were still mostly non-Hispanic white. 85% of the Association of Art Museum Directors (AAMD) directors were white as of 2021.

This shows that prominent and highly influential museums are slow to change in any meaningful way at an institutional level. Hiring diversity chiefs and thinking that the issues are resolved reveal either a genuine lack of understanding on behalf of museum boards or a disgraceful disingenuousness and lack of desire to grow into more equitable institutions.

FIND AND SUPPORT LOCAL ART GALLERIES, ARTISTS, CULTURAL CENTERS, AND SPACES THAT MORE ACCURATELY REFLECT AMERICA

Meaningful change is not easy. America unequivocally has an ongoing racism problem. This article focused primarily on anti-Black racism, but there are many heads on this historically omnipresent monster.

This problem is deeply woven into social, political, and cultural institutions. The art world and the powerful elites that direct its gaze is not immune to implicit and explicit racism just because their Twitter feed is full of upraised, Black fists.

Meaningful change starts with each individual examining honestly their relationship to white supremacy and their potential complicity in it. Then, after reflection, individuals must look outside themselves to examine how they can positively impact their immediate worlds—whether that world is a small art gallery or the MOMA.

About the Author: Roni Davis is a writer, amateur art enthusiast, and legal assistant operating out of the greater Philadelphia area. She writes for FNRP, a commercial real estate investment firm.

The post Intentional Anti-Racism Moves for Art Spaces and Galleries to Embrace and Deploy appeared first on Art Business News.

Digital trends in the art and culture industries

The pandemic forced all ecosystem participants to adapt and resort to digital: museums, galleries, theaters, concerts, and, of course, the viewer. During the months of lockdown, people have been constantly looking for entertainment and educational content. Imagine for a second how many people from all over the world have gone to the Louvre to see their digitized collections, including 3D tours in multiple languages. Or children not only watching cartoons but, for example, operas. Composers have rehearsed and collaborated to create new pieces of musical art. The list is endless of the general digital trends that have become widespread due to the pandemic.

Wide-angle cameras and 360° format

Online viewing rooms (OVR) have become popular with galleries and some art fairs, although they have met with some resistance from collectors. In an OVR, you can see the halls of the gallery and the objects in it. By moving your mouse, it simulates standing in an actual room and allows the viewer to turn in a circle to see the details. From artists in studios to the largest galleries and art fairs like Art Basel or Frieze Art Fair, OVRs have been seen as a solution to the need for a virtual format.

Augmented reality

Open art parks offer to learn more about artworks by pointing your phone camera at QR codes or through special marks. Niche fairs, such as Art Duesseldorf and Artissima, have projects are under development to integrate exhibitions through augmented reality right onto cities’ streets, thus creating a digital quest. Galleries and museums are already using AR to show the verso side of a painting where authenticity marks, signatures, auction stamps, and other usually inaccessible information are located.

Virtual reality

It has been proven that the assimilation of material through virtual reality is accelerated at times. This technology is used in different areas — in medicine and logistics —has been used primarily by the artist with their content. It is becoming more prevalent in multiple venues like museums, art galleries, and educational centers. And is an effective solution for spending leisure time and broadcasting cultural content and a completely successful way to present education formats.

In VR, you can go to a concert, walk along the beach (which seems very attractive after months of lockdown), and even take an astronomy course — not in a year but in 18 hours. New art formats in VR are just around the corner. In the virtual world, it will be possible to learn more from the artist, understand how a creative thought develops, how a work of art is born from sketch, examine the world masterpieces of the old masters and delve into history.

Live broadcasts of performances and concerts

Live broadcasts are not an innovation. Although theaters were part of a conservative camp that had to buy tickets and be physically present, many quickly resorted to broadcasts with the pandemic’s onset. Thanks to this, people were able to attend performances without leaving their homes. For example, during quarantine watching favorite performances and operas in favorite halls with favorite soloists became possible. Joshua Bell performed Tchaikovsky’s first concerto for violin and orchestra at the Sydney Opera, The Marriage of Figaro with Anna Netrebko in Salzburg, and Sleeping Beauty at the Bolshoi Theater. Of course, all kinds of cultural institutions will be slowly returning to their usual work style, but will people return in such streams as before? Or will the hybrid consumption of such content continue to be welcome and accessible?

The American response to the pandemic

An interesting international response to the pandemic is VOMA, the world’s first interactive digital museum of contemporary art. The project promises to become, albeit not full-fledged, an alternative to an offline platform. VOMA is supported by the Whitney Museum of American Art, New York MoMA, and other renowned cultural institutions. It will be possible to move around the museum in a hybrid digital space using VR / AR technologies — the virtual world will adapt to reality depending on time, weather conditions, and other factors.

Additional materials with QR codes will be assigned to each art object, which will enable the viewer to truly immerse oneself in the work’s history. Everyone will be able to visit VOMA free of charge, which solves issues of social distancing and cultural availability. It has just launched and has a robust program planned for the remainder of the year and beyond. 

Another interesting case is the creation of a VR library by the Colnaghi Historical Gallery. The works of great masters often leave the viewer wanting to understand more — about the artist, the period of time in which it was created, and the artwork itself. In a museum, visitors do not have time to immerse themselves in a work deeply, and each of these masterpieces warrants a return visit for deeper consideration. What do we most often ask ourselves when looking at a Titian, a Rembrandt, or at Velazquez’s work? What is the meaning of the artist in his work? Why were particular colors used?

Colnaghi Gallery works with professional critics and top art experts to archive VR work. Their VR library will be available to viewers through special installations in museums or specifically designated places, such as in gallery branches. Currently, there is consideration being given for a viewing station right in Hyde Park, in an open space to maintain a safe distancing for viewers. The content will also be available for viewing through home VR-helmets.

Outcome

We can confidently say that in today’s world we cannot imagine culture, personal development, or education without contact with the digital environment. Transferring cultural heritage to the next generation becomes a priority in the digitalization of art. The digitalization of content opens up new directions for the art industry: introducing technology and the emergence of new genres.

About the Author: 

Jane Travis is a professional writer in paper writing service. Jane has a university degree in philology and is currently pursuing a second degree in journalism. She is a specialist in many subjects, but her favorites are painting, culture, history, art, and music. She devotes her time to charity work and psychological conferences.

Photo Credit

Image 1: https://www.frieze.com/

Image 2: https://voma.space/

Image 3: https://londonartweek.co.uk/exhibitors/colnaghi/

The post In What Way Has the Pandemic Influenced the Art World? appeared first on Art Business News.

Although there is no clear roadmap on how to move forward, the team at Huntington T. Block has seen a few trends among galleries, art dealers, collectors, artists, art fairs, and more that are smart to have on your radar.

The Evolving Gallery Scene

The prolonged closure of galleries across the country has forced art galleries and dealers to develop strategies for different ways to stay relevant, promote artists and run their business. For example: 

• Online viewing rooms – Many art dealers have embraced digital technologies to stay connected with key cliental and artists during the pandemic. Although a majority of galleries already had established virtual platforms in place, online viewing rooms are being relied on even more now as an effective way to showcase artwork and engage collectors—whether it’s a major art fair like Art Basel Hong Kong or a small to mid-size gallery. In fact, viewing sites have almost become the norm as a replacement for art fairs that could not proceed. Obviously, these digital platforms do not allow potential buyers to experience art physically, but many collectors feel comfortable buying their works through reputable galleries from familiar artists.

• Financial support – Many small businesses in the art industry may potentially qualify for financial assistance through the federal government. The rapid and evolving changes around what help is available can be intimidating and overwhelming. Art dealers should feel empowered to seek out guidance from financial professionals to navigate any confusion or uncertainty about how to access, benefit, or qualify for government sponsored loans and grants or assistance.

• Employee relations – Art museums and galleries around the world have been faced with tough decisions—layoffs and furloughs—in response to the financial fallout. For example, the Museum of Fine Arts, Boston, recently furloughed about 300 staff members, more than 40 percent of its workforce. If possible, galleries should consider hiring freezes and salary cuts to help retain workers. The altruistic goal here being to help ensure that staff can weather this crisis as-best-as possible so, when the time comes, they may return to work on their feet.

Reactionary Selling

As the state of the economy worsens, art collectors may feel that it’s wise to sell their pieces. Financial professionals typically caution against reactionary selling during a financial crisis. My team and I, just like all fine art lovers, have a strong passion for art and fear the dangers of any type of commoditization. Fine art insurance aims to protect rare and historic objects to help guarantee their survival, in good condition, from one generation to the next—and over many centuries in some cases. 

However, the general consensus among art dealers and art advisors, from my perspective, is that there is no mass desire to sell artwork at this time. Most collectors take a more conservative approach to the sale of artwork, which requires time and skill in order to optimize value for both the buyer and seller.  Additionally, the high-end collector segment of the marketplace is somewhat insulated from immediate effect of the economic downturn.

Auction Market

Several of the recently concluded auctions, particularly last fall, resulted in lower than expected sale totals. The sales were lower not due to a decrease in unit price per se. Rather, the decrease was tied to a lack of supply of high-quality pieces available for sale. It’s too soon to speculate what the art market conditions will be in one month, one quarter, or even one year from now, and beyond. However, it can be assumed that any current reactionary selling will not have a substantial impact on overall pricing in the future.

The current challenge with buying art is not financial, but rather logistical. As lockdowns continue, physical inspections of artwork and movement of pieces cannot occur—a critical aspect of the sale process. For the time being, many collectors are developing “wish lists” in the hope of investing in the artwork of established artists—this could be the result of the recognition of artwork as an asset class and confidence in the value of good artwork.

Managing estimates at auction will be the key to bringing in potential buyers. There are a lot of people who still have a lot of money. If there is good work available, I can see where the auction houses may work to appeal to the collectors’ desire for good value and be able to build interest and sales.

Looking Ahead

Overall, we must remember during these delicate times that this is not the first downturn in the economy that the art world will have lived through. Galleries, art dealers, collectors, artists, art fairs, and the industry as a whole need to support one another as we navigate these challenges.

The post Art Market Trends in Response to COVID-19 appeared first on Art Business News.