No. 1 Planning is Key

One of the first things art dealers should know when moving to a new space is that planning is crucial. Before even packing the first piece, you must clearly understand your new space’s dimensions and layout. Drafting a detailed floor plan, factoring in where each piece of art will reside, is invaluable. For instance, larger installations might demand strategic placements, while smaller pieces can be more flexibly accommodated. Factoring in visitor movement is equally essential. Are there pieces that you want every visitor to notice immediately? Or specific routes you want them to take? All this takes forethought.

No. 2 Insurance, Insurance, Insurance!

When relocating an art gallery, standard property insurance doesn’t cut it. The unique nature of artworks requires a specialized policy, notably fine art moving insurance. This kind of coverage, often encompassing transit insurance, guarantees protection against potential damages or losses during the move. Moreover, once the art pieces settle into their new home, having comprehensive art insurance is non-negotiable. Consider, for instance, the immense historical and monetary value of a 16th-century Renaissance artwork. Your insurance policy must be tailored to address every possible risk scenario associated with such priceless pieces.

No. 3 The Right Movers

Let’s draw a parallel. Imagine you have a cherished family heirloom, perhaps a century-old necklace passed down through generations. Would you hand it over to a stranger without a second thought? Similarly, when it comes to moving artworks, you wouldn’t trust them with just any moving company. While general movers are adept at relocating everyday items like couches or refrigerators, art pieces are a different ballgame altogether. They are not just ‘items’ but embodiments of culture, history, and emotion.

Different artworks have varied requirements. A fragile sculpture, for example, can be vastly different from a delicate canvas in terms of its moving needs. That is where art-specific movers come into play. These professionals undergo specialized training that equips them to handle a diverse range of art forms. They understand the intricacies of packing, transporting, and setting up artwork to ensure their safety.

Furthermore, one significant advantage of hiring such experts is the custom crating solutions they offer. Instead of generic boxes, they provide bespoke crates tailored to each artwork’s dimensions and vulnerabilities. Whether you’re moving a colossal sculpture or a petite porcelain piece, these custom crates are designed to hold the artwork snugly, preventing any movement that might cause damage.

No. 4 Climate Considerations

Art, unlike inanimate objects, is sensitive to its surroundings. Just as a plant might wilt in extreme heat, artworks too can suffer in adverse environments. Temperature swings and changes in humidity levels are more than just minor inconveniences for art; they can lead to irreversible damage. Paintings may fade, canvas might stretch or shrink, and sculptures could distort. Thus, when relocating art, the primary concern isn’t merely moving from Point A to Point B. It’s about ensuring that the entire journey and the destination provide a stable environment for the artwork.

Given these concerns, you should consider investing in climate-controlled vans that maintain consistent temperature and humidity. For instance, an oil painting, with its layers of paint and varnish, can become damaged in a humid environment, leading to issues like mold or the paint lifting off the canvas. Similarly, a wooden sculpture exposed to rapidly changing temperatures might crack or warp. By acknowledging the delicate nature of art and its interaction with the environment, one can take informed steps to protect and preserve it during relocation.

No. 5 Upgraded Security Systems

Beyond the art’s intrinsic value, galleries often become targets for theft. In your new space, re-evaluate your security measures. Are there blind spots that need surveillance? Could a more advanced alarm system be integrated? You should think about digital security, like surveillance cameras, and physical barriers, like reinforced entry points or security personnel.

No. 6 Storage Solutions

While a gallery displays art, not every piece might always be on show. The new space should have provisions for safe storage. Think beyond mere square footage. Is the storage climate-controlled? How easy is it to access frequently rotated pieces? And remember, as collections grow, so should storage capabilities.

No. 7 Lighting Matters

Lighting isn’t just about visibility. It shapes perceptions, moods, and engagement. For example, a Baroque painting, with its intricate details and deep shadows, demands different lighting than a minimalist modern sculpture. Therefore, your new gallery will require diverse lighting solutions, from spotlights to ambient lights. Consulting a lighting expert can make a world of difference, ensuring each piece is viewed in its intended glory.

No. 8 Engaging the Local Art Community

A relocation isn’t just physical; it’s also about re-establishing connections. So, dive into the local art scene. Engage with local artists, critics, and enthusiasts. For instance, an inaugural event or open house can be a golden opportunity to introduce yourself, display your collection, and establish connections.

No. 9 Digital Updates

In our digital age, a gallery’s online presence is not just a modern convenience but a cornerstone for the future of the art world. Therefore, you must update your gallery’s address across all digital platforms, from your official website to social media pages. Moreover, consider introducing your new space with virtual tours to make a mark and engage with contemporary audiences. This immersive experience provides potential visitors with a captivating glimpse of what awaits them in your gallery.

No. 10 Feedback Loop

Every change offers a learning curve. After your move, actively seek feedback. How do regular visitors feel about the new setup? Is there something they miss from the old space? Such feedback can be a goldmine for improvements.

What Art Dealers Should Know When Moving to a New Space: The Bigger Picture

Moving a gallery isn’t merely about physical relocation. It’s about ensuring art remains preserved, showcased beautifully, and accessible. It’s a dance between logistics and aesthetics, practicality and passion. Therefore, as you embrace this exciting new chapter, remember everything art dealers should know when moving to a new space. Here’s to new beginnings, flourishing in your new environment, and continuing the ever-evolving journey of showcasing magnificent art.

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Author bio:

Catherine C. White works as a content writer for Family Affair Moving Orange County. With a deep-rooted passion for art, Catherine expertly melds her professional knowledge with her love for the artistic realm, offering readers invaluable insights and perspectives.

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Q. Introduce yourself — who you are and what you do?

A. My name is Erik Renssen, I am a Dutch artist (born in 1960) who enjoys painting, sculpting, and making graphic works on paper. For 12 years we have had our own gallery – located in the heart of the Art District of Amsterdam – which is run by my, wife, muse, and manager, Suzka Renssen. She is the one at Spectrum to welcome you to Booth S302.

Q. What is your background?

A. I have been drawing and painting for over 30 years now. However, I worked for 11 years in an architect’s office – painting only in my free time– before I decided to dedicate all my time to the arts. The last 4 years of my architectural career were quite intense, simultaneously studying at the Wackers Art Academy of Amsterdam in the evenings. In my current work, you can see my love for Architecture and Art combined in my cityscapes.

Q. How do you work?

A. Most of my work is done in my studio in our garden, a peaceful place, along the waterside. My paintings are done in oil, my drawings in charcoal, and my sculptures in bronze, white marble, or black granite. I like to work on the tones of Jazz music so the rhythm leads the way. When I start I have an idea of what I want to make but this can change totally in the process. My best pieces come to life on the easel when I get into a nice, creative flow. I love to work in oil as I can apply a layer over layer and mix the most beautiful colors.

Q. What art do you most identify with?

A. My work is much inspired by Picasso, Braque, Matisse, and van Gogh. I just love the old-fashioned Mastership and enjoy the playfulness of their artistic languages. Many of the objects in my work come from my own surroundings. When we have a family of owls in our garden, you will see owls appearing in my work. And when I meet someone with spectacular blue eyes or distinctive features I may use that. My family also resides in my paintings, like my son playing the grand piano. That way I write my own stories in a mix of existing artistic idioms.

Q. What artist(s) inspires you?

A. Any artist that works with passion and conviction. You need to make what you want only and not listen to others too much. Only if you are stubborn you can stay true to yourself and the best way for you to express yourself is only to be decided by you. Of course, your ideas can evolve…

Q. What is the best advice you’ve received?

A. Most people told me to hang on to my safe job and not follow my dreams… I am very happy I did not listen and that my wife Suzka believed in me. Now we are living our dream, inspiring many others on the way. My international collectors from all continents give me the recognition I need to always keep improving my work.

Q. When you are not working, where can we find you?

A. In our garden, listening to the birds. We have a wildflower garden full of busy bees and insects I love to watch. I have a deep-rooted passion for biodiversity in nature and am concerned for our planet.

Q. What does exhibiting at Spectrum Miami 2021 mean to you?

A. I am particularly looking forward to the reactions to my new white marble and black granite sculpture collection. We have been dearly missing US citizens traveling to Europe in the past two years. So we are very happy to be back in Florida where so many of our loyal collectors reside. We also hope to meet many new people enjoying my art.

The post Meet the Artist: Renssen Gallery appeared first on Art Business News.

The traditional way of selling art through brick-and-mortar gallery works. But if you find yourself creating marketing materials, building websites, packing boxes, and accounting for your sales when you’d rather be painting, sculpting, or blowing glass, then it’s time to consider selling to the trade.

Also known as wholesaling, selling to the trade is commonplace in the commercial marketplace, and it’s been around for decades among fine artists who see it as a means of expanding their reach and collector base. And in today’s marketplace, it can provide income via multiple distribution channels. 

Instead of relying on their own sales and gallery consignments, successful artists have entered the world of wholesale and are building a distribution network of publishers, gallerists, dealers, consultants, decorators, and designers who provide a professional skill set in dealing with the art world, from marketing and selling to packing and shipping. And today, online marketplaces have become another means of expanding your distribution.

The more places your art is on display, the better chances it has of it selling. So let’s look at four types of art industry trade distribution and what they typically charge for services.  

PUBLISHERS

An art publisher is not unlike a book publisher. A book publisher (think Simon & Schuster) manages the careers of many writers, while an art publisher manages the careers of many artists. Not only does an art publisher provide operational, promotional, and financial guidance, but also, and perhaps most importantly, a publisher maintains a client list of galleries and retailers around the world in which to sell the art they “publish.”  

A typical art publisher needs to buy at a deep discount so they can sell the art wholesale to a retailer (i.e., a gallery owner). For instance, if the retail price of a piece is $5,000, the retailer will expect a discount of 50/10, which means the publisher usually asks for a discount of 50/50/20: $5,000 less 50 percent is $2,500 less 50 percent is $1,250 less 20 percent is $1,000. 

This is a wonderful relationship for artists who can paint quickly. Let’s say you can paint 100 pieces annually. How many can you sell on your own? Not many. However, the publisher’s distribution network of dealers, galleries, and trade professionals does the selling for you, leaving you with more time to paint.  

GALLERISTS AND DEALERS

Otherwise known as gallery owners or art dealers, they account for 51 percent of art sold annually. Gallerists and dealers are the business side of the industry, acting as the retailer, curator, accountant, marketer, and sales team all in one. 

“It’s not an easy business,” says Eric Smith, president, and CEO of Redwood Art Group. “When you’re dealing with a gallery owner, I encourage you to work with them, create a long-term relationship. They are your partner, and you never bite the hand that feeds you.” 

Gallery expenses include rent, power, sales commission, advertising, marketing, events, and more, so a typical gallery needs to buy or consign the work at 50/10 to 50/20. On a $3,500 piece, this translates to $3,500 less 50 percent is $1,750 less 10 percent is $1,575, less 20 percent is $1,400.

Also remember, when you work with a gallery, your distribution is almost always limited to the area they occupy in order to protect your relationship. Even if the gallery is in Los Angeles or New York, you’re still relying on foot traffic — so be patient.  

DESIGNERS AND DECORATORS

Interior designers and decorators can be a significant source of distribution for some artists, and they often don’t take as large a piece of the pie. That’s because designers and decorators are not guiding or assisting you; they are simply selling directly to their client — the collector. You have to be out there in order to connect with the designer or decorator, so you’ll still have to capture the image of the piece, post it on your website, and provide the marketing. 

Typically, a designer works on a 25 to 30 percent margin. For instance, if the sale price of a painting is $4,000, you’ll receive anywhere from $2,800 to $3,000 for the piece. Then they resell it to their client for the full price or maybe slightly more.

ONLINE PLATFORMS

Selling online has become a mainstay for many artists, whether on their own website or in affiliation with one of the many online platforms. Of course, selling directly from your website or your own social media platforms gives the potential of interacting directly with buyers, creating a relationship much like you would do at an art fair or gallery opening.

Having your own site gives you complete control over presentation and sales, but the challenge is having a well-designed website that’s easy for search engines to rank. Merely uploading your work on your website won’t get you noticed. You’ll need to have an aggressive marketing plan of blogging, emailing, and social media to engage followers and potential buyers.

You might choose to partner with a platform like SaatchiArt, DeviantArt, or Redwood Art Marketplace. Each of these platforms markets aggressively and manages the sales process entirely. You can expect them to take between 35 to 40 percent of the sale. If your work sells for $2,500, you’ll receive between $1,500 and $1,625 for it. 

PATIENCE PAYS OFF

We like the way this quote from Cory Huff, CEO and Founder of The Abundant Artist, sums it all up: “The final decision on what to do and how to do it comes down to you as the artist. It’s your work and your life. Artists remake new markets and forge ahead into areas that others can’t see. That’s what makes artists unique and interesting. As with any business strategy, the best strategy to selling art is the one you can maintain. Be patient. Take some time and plan out your strategy. And, most importantly, give yourself room to have fun and experiment.”

LEARN MORE

You can learn more about selling art in the art industry’s wholesale marketplace at the Topics & Trends Educational Series seminars at Artexpo New York, running November 18-21, 2021, at Pier 90 in Manhattan.

For more information on Redwood Art Group’s fairs and how Redwood can help you develop your career and grow your business, visit https://redwoodartgroup.com/.

About the author:

Linda Mariano is the Editor-in-Chief for Art Business News and Managing Director of Marketing for Redwood Art Group. With a career that spans 30 years, Mariano is a leader in marketing, brand management, e-commerce, and promotion initiatives for major retailers, specialty retail, art industry, licensing partnerships, media, and entertainment, as well as entrepreneurial business environments. For Redwood Art Group, Linda oversees the marketing and brand extension efforts of the company.

All photos courtesy of Redwood Art Group.

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Art Gallery Inc. does more than sell affordable contemporary art, they provide a platform and opportunity to share the talent of professional female artists. In fact, every piece sold at the gallery provides a channel to give back and 10% of their art sales are donated to a cause. Aside from their charitable donations, the gallery also hosts art contests, which enable women to receive visibility and new opportunities to promote their work.

“…The truth is that women have never been treated equally in the art world, and today they remain dramatically underrepresented and undervalued in museums, galleries, and auction houses. Counting and quantifying won’t solve discrimination, but statistics are useful for understanding the scope of the problem.” says Art Gallery Inc. Director, Julia Ross.

Aside from helping female artists daily, this incredible art gallery has recently donated to women shelters and homeless women during the Texas snowstorm. “We are so grateful that through art sales supporting women artists we were also able to give back and help other women in need”, says Ross.

Art Gallery Inc. also recently partnered with In My Shoes, a non-profit organization in Dallas providing community living with a safe environment that focuses on assisting women who are pregnant and homeless. The organization helps women by providing them with tools to search for jobs and parenting and budgeting tips.

Female artists can apply to become a featured artist at Art Gallery Inc. Currently, the gallery is showcasing the works of Sharon Grimes, Darya Farral, Regina Davis, Kiki Winters, Julia Ross, Kelly Gowan, Victoria Moore, Jessica M Chaix, Rosemary Riddle-Achelpohl, Jill Danahey, Daniela Pasqualini, Leslie Merrill, Lu Pearl, and Kimberly Christopher.

To learn more about Art Gallery Inc. visit their website: https://artgalleryinc.com/home

The post This Dallas Art Gallery is Dedicated to Helping Women 365 Days a Year appeared first on Art Business News.

Founded in São Paulo by Thais Marin and her husband, Leo Macias, apArt is inspired by German collector Christian Boros’ initiative to transform a Berlin bunker into an art gallery, on top of which he now lives. In apArt, Marin and Macias have created a minimized version of Boros’ bunker. What sets apArt apart is its ability to enable art and its creator to come into direct contact with those who appreciate it.

With the focus on facilitating and trendsetting, apArt Private Gallery hosts artists from all over the world to live in a creative environment and be inspired to develop their work, which will be displayed in an exhibition at the gallery. Additionally, apArt works with art lovers who aren’t yet collectors, educating them on how they can buy art and become collectors.

Marin sat down with Art Business News to talk about the apArt origin story, the gallery’s successes and challenges, and why it’s opening a third location in New York City.

Tell us about apArt Private Gallery in Brazil. When and why did it open?
apArt started because my husband is an artist and creative from the advertising industry [Leo Macias, chief creative officer of DDB Colombia]. I felt it necessary to have a space to share his artwork. I had been an account and interactivity professional in both advertising and marketing, handling brands such as Walt Disney Co., McDonald’s, Coca-Cola, Unilever, and Avon, among others on a global, regional, and local level, and I wanted to do something creative. We decided to buy a bigger apartment so we could build an art studio inside it.

When we traveled to Berlin and discovered the way Christian Boros receives people in his own home to see his art pieces, we got insight into how to approach apArt. We decided to not only have an art studio but also build an art gallery inside the apartment and invite people to view the art exhibitions. Through this creative economy concept, we can be in closer contact with creative professionals, whom we believe we may be able to help inspire in some way.

What are some of apArt’s greatest successes and challenges?
Our first success was when people felt excited to be invited to a private residence to see art and were amazed by the breathtaking art gallery. Our other main success is due to the amazing artists who have taken part. They feel honored to have this opportunity presented to them and enjoy every bit of the gallery. Even those who are very famous in the advertising market. Taking part in a unique art exhibition is one of their biggest dreams.

Another service that we brought to Brazil was the chance to rent art. We hadn’t even realized we were the first gallery to bring this concept to Brazil. Many people enjoy renting art as opposed to buying.

The main challenge is to create new buyers and increase the number of art collectors. It is also difficult to block enough time out of our busy schedules to give the artists the attention they deserve and expose their artwork to the world.

Why is apArt sought after?
We believe the reason why it is sought-after is because we’re doing business with generosity. We’re giving people a chance to view art and experience it in an unconventional way. We’re giving the viewer an opportunity to buy their first piece and the artist an opportunity to sell their first piece.

Why open another gallery? Why New York?
This is our third gallery. We opened the second one in Bogotá, Colombia. Because the concept is to give opportunities to new artists, especially from the advertising market, we decided to open our next gallery in New York, where there are a plethora of opportunities in the art and advertising world. New York is a culturally diverse, open-minded city where many artists can thrive.

What are the goals for the New York gallery?
Our main goal is to be recognized as a gallery that prepares artists for conventional galleries and gives them the confidence to continue their work. Another important goal is to increase the number of art collectors as well as people who are simply interested in artwork.

How many artists will be present, and what type of art will be shown?
For our first New York City event, we are showcasing one person and his amazing work: Brazilian artist and media mogul Marcello Serpa. We don’t personally represent any artist. Instead, we take the initiative to show different artists to the world, invite them to take part in our gallery, and present them to potential buyers. The artists who we have worked alongside have created a wide range of art. We like to be very open-minded toward anything these artists may have in store.

Who will run the New York gallery?
Maria Ines Moraes, a Brazilian philanthropist and entrepreneur, has been pursuing her passion for art and acquiring experience in the field throughout the past 30 years living in New York City. She has always loved to collect art and recently turned her apartment into a gallery, which made her the perfect partner in our expansion to New York.

Moraes has already hosted several art events in her apartment, during which she served as the curator and obtained the approval of several collectors. As the executive director of apArt Private Gallery NY, she will help transcend the brand and the unconventional concept of appreciating, buying, or renting art, as well as open doors for artists, collectors, and appreciators of art in the region.

The post What Sets apArt Private Gallery Apart: An Interview with Thais Marin appeared first on Art Business News.

FrameWorks was launched in 1989, when Christine Sweeny moved to Miami and opened a frame shop in the heart of Coconut Grove called Kennedy Studios. In1995, Sweeny rebranded the business as FrameWorks, moving her retail location to its current corner on Commodore Plaza. Claire Lardner became an equal partner and owner in the business in 1996, bringing her successful career as an attorney to the partnership. Over the years, Sweeny and Lardner have continued to invest in FrameWorks’s evolution with cutting-edge technology and equipment, constantly working towards upward growth and expansion.

When FrameWorks began, Sweeny operated the business solo. Today, the company employs 22 people, many of whom have been with the company for over 15 years and live in the local community, and has two locations. FrameWorks installs artwork worldwide, from Spain and Italy to Turks and Caicos, Hawaii, the Bahamas, and other Caribbean islands.

FrameWorks is committed to providing superior customer service, offering competitive industry pricing, and staying on top of business trends. This pursuit and consistent delivery of excellence has resulted in the retention of clients over many years. Both Sweeny and Lardner have achieved the prestigious industry designation of Certified Picture Framer, awarded by the Professional Picture Framing Association. Less than five percent of all picture framers in the country hold this designation. Their commitment to continued personal development in their chosen trade has allowed them to have consistent growth over the past two decades.

FrameWorks serves two sectors: residential and hospitality. The residential clientele is made up of local residents from around South Florida who come to the retail store for picture framing and art services. FrameWorks is proud of its reputation in the South Florida community for not only the exemplary art and framing services it provides, but also for its constant and continued support of local charities, community events, and school art programs.

The hospitality sector requires working with developers, business owners, interior designers, and architects who are in need of art and framing services. Clients from this sector include cruise lines, hotels, timeshares, and office buildings.

The industry standards for artwork in the hospitality industry in 1996 were prints and posters from catalogs. FrameWorks saw an opportunity to provide custom imagery at a fraction of the price. Sweeny and Lardner purchased their first wide-format printer in 1999 and began providing alternatives to the industry standards. This offered an additional revenue stream for FrameWorks and continued to distinguish the company as a leader in the industry. Today, FrameWorks offers wide-format printing services with four printers, cutting-edge software, and alternative, innovative substrates for printing and framing.

FrameWorks has seen continual growth over the years. Sweeny and Lardner acquired additional manufacturing and storage space in 2000 to accommodate large-volume production and meet all of the company’s crating, shipping, and export needs. In 2009, they opened a second retail location in the heart of the Bird Road Art District that provides retail art and framing services and houses large-format printers for servicing wholesale clientele.

Given FrameWorks’s continued growth and its proven stability of core sales, Sweeny and Lardner have cemented their retail presence by purchasing their original retail headquarters property on Commodore Plaza. The co-owners see the acquisition as a crowning achievement that will convert rental payments into on-going investments of commercial property, offer FrameWorks control over its physical plant and streetscape appearance, give Sweeny and Lardner a solid earnings stream, and act as a valuable asset to rely on for value accumulation and leveragability. Sweeny and Lardner are excited about the growth and potential of FrameWorks in the years to come.

Services include:

• Art consulting
• Printing services on multiple materials
• Banners
• Artwork
• Signage
• Picture and mirror framing installation

Client list includes:

• Hospitality Purveyors (Sandals and Beaches)
• Coconut Grove Arts Festival
• Atlantic Purchasing, Hotel Properties in North America
• Interspace Design, Coconut Grove
• Gansevoort, Turks & Caicos
• International Design Concepts, Jumby Bay, Antigua Summer Bay, Orlando
• The James Hotel, Miami Beach
• The Benjamin Hotel, NYC
• 1 Hotel, Miami Beach
• Carnival Cruise Lines
• Norwegian Cruise Lines
• Royal Caribbean Cruise Lines
• Pullmantur Cruises

Website: www.frameworksmiami.com

The post Gallery Spotlight on FrameWorks Miami appeared first on Art Business News.

In a recent interview with art superstar William Wegman, I asked him how he was able to get into an art gallery when he started out? He said, “Other artists recommended me to their galleries. I didn’t really go around with my portfolio; that was kind of a sad sack situation and pretty much a dead-end, I think. And if you want to be discouraged, just start doing that.”

Exactly! Showing up at a gallery, unannounced and uninvited is a fast track to nowhere. Even worse is sending out emails with links or attachments when no one asked to see them. Do you know what happens to unsolicited emails to galleries? Delete! Delete! Delete!

So, how can artists get into an art gallery? Here’s my list of the do’s and don’ts.

Do your research to see if the gallery is a good match for your work and level of experience.

When I had a gallery, artists approached me daily about showing their work. The problem was, my focus was on works on paper and photography. I also leaned toward work that made some sort of political or social statement. But sculptors, landscape painters, video artists, pet portraitists, religious iconographers, all submitted work anyway and seemed surprised when I turned them away.

Gallerists are creative agents themselves, they have strong interests and aesthetics. Believing that your work is so good and so important that it will change the course of the gallerist’s entire enterprise is egotistical and even a little bit rude.

A gallery is not just a gallery. It represents someone’s creative vision. Take the time to find out what a gallery is dedicated to showing before you even think of submitting your work.

Do develop a relationship with the gallery.

The primary way that galleries choose artists is through relationships. That means that either someone introduced them to the artist’s work or they met the artist first and then were introduced to the work.

If you’ve identified an art gallery that would make a good fit for you, develop a relationship with them. Go to their events. Sign up for their mailing list. Spend time on their website. Like their Facebook page. Get known within their community as a supporter. This is the best way to get on a gallery’s radar.

If you know someone who’s already part of that gallery’s community, all the better! Ask to join them when you go to events. Have them introduce you to the staff. Let the gallerist know how much you enjoy what they do, show them that you know who they are and what they’re about. Then submit your work.

Don’t approach a gallery before finding out their submission policies.

Finding out a gallery’s submission policy is easy. Check their website and see if it’s posted there. If not, call them – that’s right pick up the telephone and ask. Or ask the gallerist while you’re visiting — because you should try to visit the gallery in person.

If they say that they don’t accept submissions, then you have your answer. They don’t accept submissions. Do not submit your work anyway. The best way to crack this nut is through an introduction. And this all goes back to becoming part of the gallery’s community.

If they do accept submissions, try to follow their guidelines. If they ask for 12 images, don’t send them 50. I know you’re an artist and we’re prone to breaking the rules, but submission policies are best followed to the letter.

Don’t ask what the gallery can do for you, but what you can do for the gallery.

No, seriously. Artists are always wishing they had a gallery to “handle all of this business
stuff for me.” But what are you offering the gallery?

Instead of looking at galleries in terms of what they can give to you, turn that question around. How would your work add to their stable? What would it bring to them? How can you help them with marketing? Are there introductions you can make? Do you know how to build websites? Maybe they need some help with theirs.

Giving an artist an exhibition is a very expensive gamble. And as any gallerist can tell you, demanding and egotistical artists are seldom worth the trouble. There’s a long line of very talented people who would love to have an opportunity to get into an art gallery, people who are givers not takers. So be a giver.

Don’t ever think of the gallery’s commission as something they’re taking from you, but of each sale as something they’re giving to you.

Do you think it’s expensive to be an artist? Try having a gallery! The overhead is tremendous. And don’t even get me started on the price of art fairs.

Artists often complain to me about galleries who take 40, 50, even 60%. True, if you’re paying that much you have a right to expect a lot in return. But don’t deny the gallery their commission. They aren’t taking anything from you. They are giving you a sale that you otherwise wouldn’t have had.

Do be prepared to talk about your work.

I’ve asked many artists to tell me about their work over the years. The ones who mumble, “My work speaks for itself” are wrong. If it did, I wouldn’t have asked. Trust me, being reticent about your work is no way to get into an art gallery. But being interested enough in your own work to engage others is the best sales tool there is.

Do develop an audience before approaching a gallery.

For example, having an engaged following on Facebook carries weight. It shows the gallery that you understand how to promote and market yourself. Too many artists put this off saying that it’s a gallery’s job. It is not. It’s your job to build and maintain your audience.

There’s no hard and fast number of fans you need. But being able to tell a gallery that you’ve got a loyal following will give them a sense of security. They’ll know that you understand marketing and that you can fill a gallery with people come opening night.

If you absolutely hate social media, don’t worry about it. You don’t have to engage online. But it’s a very powerful tool for artists if they’re willing to embrace it. If you are going to engage online, I’d suggest you choose one platform and rock that. You can have a presence on the others and even push notifications out to them, but you don’t have to be everything to everybody all the time.

And if you decide to opt out of the social media scene, then think about how you will engage your audience? Do you have a mailing list of people who have visited your studio and bought from you in the past? Start now!

Even if you have a gallery who handles client relations for you, you’d be best served to have some control over your audience. What happens when the gallery closes? Don’t shrug, I’ve seen it happen many times before. And artists who had been selling consistently have found themselves starting over from the beginning.

These tips will help to open doors for you. I’ve seen it happen again and again. But it’s your work that will seal the deal. Make sure that the work is ready, that you’ve honed your craft and are showing the best that you can do.

It looks easy, but I know that it’s difficult. Hang in there and DON’T QUIT. Because this is how you DO get into an art gallery!

The post How To Get Into a Gallery appeared first on Art Business News.

by Megan Kaplon

Lisa and D. Arthur Wilson, owners of the original Art Gone Wild Gallery in Key West, Fla., and the new sister gallery in Santa Fe, N.M., find themselves living a charmed life in the art world; however, their success did not always comes easily.

The husband-and-wife team is making some brave and risky moves, such as opening a new gallery during the tough economic recovery of 2010. Those risks paid off: The Wilsons are doing well enough to expand, and Lisa and Arthur’s work continues to attract more collectors. The couple is even speaking with some Hollywood producers about creating a feature-length animated film based on Arthur’s signature character, Rhupert the ostrich, although the pair cannot yet share any further details.

ABN spoke with the couple to find out what drew them to art and to each other and to discover the secrets of their success as artists and gallery owners.

Art Business News: How did you first get involved in art?

Arthur: My first art show was in 1976 in Dayton, Ohio, when I was 17. In the ’70s and early ’80s, mall art shows were [among] the major ways to make a living. When I tell people today that weren’t around in that era, they go, “What? In malls?” But you must understand that malls were the new marketplace. Downtowns were dying across America at the time, people had not yet started renovating downtown historic districts, … the shopping mall was brand new and promoters were doing art shows there. They were typically traveling shows, and I ran into one, and these people were making a living at art and traveling the country. I said, “Hey, it doesn’t get any better than that,” so I bought myself a van, and I started doing art shows coast to coast for the next four or five years.

ABN: What about you, Lisa?

Lisa: My mother was an amazing vocal-music educator, and she gave me that beautiful balance of always having a creative space. I was always surrounded by art and performances and museums, and I was a vocal-music major and dance minor in college.

But when Arthur and I met, I really hadn’t thought too much about being a professional two-dimensional artist. We got married, and I thought, “Well, I’ll just work for him.” But, as an artistic soul, he recognized that I was getting incredibly restless not having my own expression, so he encouraged me to start playing with different mediums. I started with—this is hilarious—large acrylic fruits and vegetables in my own style, and God only knows why they sold. I swear I don’t know why anyone gave me money, but they did. I think it was because they were big and cheap.

ABN: How did you meet?

A: At an art show in Boulder, Colo. I had my son with me, and I was recently divorced, and I was like, “Well, I’m not going to hit on any girls, not with my son around.” And [Lisa] was done with men. She was going through a divorce herself. So neither of us was looking. In fact, we were both intentionally not looking. But she walked by me, and I thought, “This gal is really pretty.” I complimented her, and she discounted my compliment, like women typically do. The next day, I walked into her booth, and I said, “Hi, my name is Arthur,” and I put out my hand, and that was it. We married a year to the date later, and it’s been 13 magical years.

L: When I met him, it was true, we both were not looking. And I’ll tell you what: He swept me completely off my feet. … It’s been a rollicking, hilarious journey ever since, and we really adore each other.

ABN: Arthur, how did you get into painting wildlife?

A: Wildlife was actually an early love of mine. I grew up always on an adventure as a kid, exploring the woods.

ABN: Tell me a little bit about the character, Rhupert, who appears in a lot of your work.

A: Rhupert the ostrich was born out of my wildlife work. At first, Rhupert started off a little bit slow, but he is now 90 percent of what I sell and 75 percent of what the Key West gallery sells. He’s very, very popular. My most expensive pieces I’ve ever sold have been Rhupert, and he’s also the most fun thing I’ve ever done.

Rhupert can be easily dismissed as just whimsical art or cute art, but there’s actually a great deal of depth to him. He’s balanced with a sense of humor. I’ve found that, almost no matter how serious something may seem, if I balance it with a sense of humor, it makes things digestible. Rhupert [represents] being yourself. That’s the boiled-down version: Be yourself. My favorite quote from Rhupert— Rhupert gets attributed with all these quotes—is about the three hardest things to do in life. First of all, to find out who you are. That’s not easy, and that’s the beginning of the journey. The next hardest thing above that is to actually be who you are, and that takes a certain amount of commitment and courage. And the hardest thing in life is to share who you are, and that is downright terrifying for most of us. Rhupert is kind of a Forrest Gump meets Obi-Wan Kenobi; he’s a wise Jedi master, but he doesn’t have a clue at the same time.

ABN: Lisa, what kind of work are you creating these days?

L: My current style is one that I literally developed just by playing, which is the guidance that my husband gave me. When I go to canvas, that’s what I do. I say a little prayer over it, and then I just give myself permission to play and not take myself so seriously and just see what we have here. I started out on board with acrylic mixed media, and … now I’m working on acrylic as my canvas, so I’m getting this crazy dimension to the work that is really a combination of two separate paintings.

ABN: If you had to give a thesis for your gallery, what would it be?

A: I like to say it’s “where art goes on adventure.” And I believe that life’s an adventure. My wife’s and my work are so radically different, but, still, going on that abstract-expressionist trail is quite an adventure. And that’s an adventure of the heart; she truly paints what she feels, and I marvel at how she can translate those emotions by the colors of paint she uses and the movement that’s created. For me, personally, “adventure” is one of the greatest words there is when it comes to describing life. It incorporates it all: the challenges, the difficulties, the highs, the lows. Art is an expression of that and can take people on that adventure if they allow themselves to open themselves up to it.

L: The thesis statement of our gallery would be: “It’s a safe place to find yourself and connect with yourself.” We think it’s quite beautiful, but the art on the wall is so unique. It’s not art that creates a shock; it’s art that creates an eyebrow raise. Especially with the Rhupert work: … “Why the heck is there an ostrich in everything?” That makes people laugh at first, but then, once they get to know what Rhupert’s message is, they begin to connect with the poignancy of D. Arthur’s message. It’s just a safe place to discover yourself—a safe place to learn something you might not have known.

For more, visit Art Gone Wild Gallery at agwg.net.

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Last week, Amazon invited several galleries to an informational event held in New York City. The email invites read:

This summer Amazon is planning to launch a Fine Art Gallery where customers will be able to purchase original artwork offered by a select group of invited galleries via Amazon.com. You are cordially invited to a special event in New York where we will introduce the Amazon Art marketplace to New York galleries …. We have received overwhelming support from the galleries that have already joined the platform and we would love the opportunity to offer your gallery’s selection in the Amazon Art store.

Amazon’s representatives are keeping mum, but promise further details will be announced soon. If the plan goes forward, Amazon’s partnership with galleries could turn fine art into a mass market product—for better or worse.

See Hyperallergic’s story for more info.

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by Terrence Lynch

“How do I get my work into an art gallery? What can a gallery do for me? What would a gallery ask of me?”

There comes a point in most artist’s careers when he or she confronts the question: “Can I make a living at this?” Perhaps he’s had success at local amateur shows or fairs. Perhaps an storm of creativity has left them with a body of work that makes her think, “I’ve got something here.” Then the question becomes whether it’s time to take the next professional step and get the work into an art gallery. But how to start?

ABN recently asked three respected art dealers the kind of bare-bones questions an emerging artist would ask. The panel included Jeff Jaffe, founder and owner of Pop International Galleries in New York City; Gary Handler, director and co-owner of Vinings Galleries of Roswell and Smyrna, Ga., and Eric Smith, publisher of this magazine and veteran of  over 25 years in the industry. Their comments have been edited for length and clarity.

“The art of business and the business of art are very intertwined,” says Jaffe as we start the conversation.

ABN: What are the benefits in working with galleries?
Smith: First you have a retail location. Galleries take care of sales. They have art consultants working in the gallery. They’re knowledgeable, they have a skill set that most artists don’t carry. The skill set is sales. It maximizes the time of an artist.
Jaffe: We’re the intermediary between the artist and the public. Unless you’re independently wealthy, it’s very difficult to market your work broadly, appropriately, and professionally–that’s the role of galleries. Galleries introduce artists and help to develop their careers. Here at Pop International, we have a very real mission in terms of how we represent artists. We represent them fiercely and protectively. We do everything  we can to help their careers grow, because as their careers grow, so do we.
Handler: Once an artist is “found” at a gallery, it just takes [the work] up a level– that this is not just a festival artist. Somebody on a professional level in this business thought enough about this artwork to represent it in their gallery. The work takes on a whole new meaning.

ABN: What services do galleries perform for an artist?
Jaffe: People love wandering around, popping into galleries and looking at art. That’s what we do, but galleries also educate people. People who’ve never bought a piece of art may wind up buying a piece of art for the first time, because of the gallery doing its job.
Smith: They do the marketing. They make calls to see if customers like the art they’ve bought. They go to people’s houses to hand art on the wall. The question brings up the idea of accounts receivables: how many artists are painting until three o’clock and then say, “I’d better make some calls and track down some of my money”? Galleries do that every day.
Jaffe: We do go to clients’ homes regularly. We do install art. We’ll bring pieces for them to look at in their homes. It gives us a big handle on what their collections are about. That gives us a lot of information. Artists don’t have that. Gallerists have access to the clients. That’s the point.

ABN: What about pricing the work?
Smith: You’ve got to be realistic about the effort put into the work, and the amount of return you can live with. I’ve written an article about this which you can find at artexponewyork.com, “Pricing101.” You’ve got to be realistic about the market–that’s another place where a knowledgeable gallerist can help.
Handler: In today’s business climate, artists need to be prepared to go into a consignment relationship. The artist produces the prices. There should be a minimum amount that the artist is going to get. One of the advantages of working with galleries is that you have trained salespeople. Our goal to maximize revenue for everyone.
Jaffe: Typically, galleries buy prints and consign originals. That’s the norm.

“As a tip to any artist, be prepared. Have a body of work.”

ABN: That brings up the issue of how art is supplied to galleries…
Handler: There’s no set answer to that. We have some relations where we work directly with the artist. We have other relationships where we work with the publisher. It depends on where the artist is in his or her career. It could be an artist that’s hitting the streets themselves, and selling the work themselves, or have they been discovered by a publisher. Then it morphs into something totally different.
Jaffe: Artists supply directly, they can have a direct relationship with a gallery. Or, they can have an agent that’ll be an intermediary to supply art. Or they can work with a publisher, where you give up a certain amount of your autonomy and have somebody else market for you, print for you, etc.
Smith: Publishers are aggregators, people who have a stable of say five to 50 artists. They can manage the artists’ careers so they don’t have anything to do but paint or sculpt. That’s the benefit of working with publishers–there’s more of a business atmosphere. In my opinion, everybody should work at what they’re best at. Artists are best at painting, or sculpting, blowing glass, or whatever.

ABN:  For an artist, can there be a downside to working with a galley?
Handler: The obstacles? It’s obvious. There’s having to share a portion of your sales with a gallery. Shipping, decisions on framing, who pays for this–who pays for that…If you’re becoming popular with a gallery and that gallery starts to host you as one of their featured artists, there’s pressure to produce. And once you get into one gallery, you’re going to get into others  and you’ve got to have the confidence that if you can do it here you can do it there.

ABN: How many pieces should an artist have before starting to look for a  gallery?
Smith: As many as possible. If you’re an artist who only paints 12 pieces per year, you can only work with one gallery, because you don’t have enough original work to spread out to say, four galleries. If I were an artist painting 12 pieces per year, I would do reproductions or limited-edition prints of six to eight of those pieces. That would maximize my talent. And I would do low numbers of editions, maybe 15-20.
Jaffe: As a tip to any artist, be prepared. Have a body of work. Show something that you’ve been working on for the last five years–showing something that you’ve been working on for the last three months isn’t going to get you gallery representation. Gallerists and art dealers and galley owners are looking for a comprehensive, cohesive body of work.
I happen to be an artist myself. I sit squarely on both sides of this business. As an art dealer, I can tell you that I reject thousands of artists a year that don’t have a solid portfolio. They make a couple of nice pieces and they think that they should have a gallery represent them. It just doesn’t work that way.
Handler: When I get on board with an artist, I want to make a visual impact [in my galleries]. I need a minimum–a minimum–of six to eight pieces from that artist. If it’s an artist we do well with, we’re going to want ten to 12 to 14 pieces of art on the wall.

“Part of the beauty of being an artist is selling your work to someone who appreciates it.”

ABN: What do artists need to appreciate about galleries as businesses?
Jaffe: Galleries have huge expenses. Artists have to participate in helping to mitigate those expenses by being “sellable.” And the more you sell, the more you have to have on hand. Galleries won’t invest the time and the effort of marketing and developing an artist if there’s no supply. It’s a good sign when you walk into a gallery and you see an artist has a huge chunk of wall in a gallery–it’s because they’re selling well.
Handler: We just had a situation with an artist. They brought their work into the gallery, and it was beautiful work, but I felt that they were asking significantly too much for it. I said, “it’s not that the artwork’s not worth it, but in my gallery right now we don’t have the numbers of that type of client walking through our doors. We’re not making lots of sales at that price point. Are we making sales at that price point? Yes. But they’re few and far between. But at thisprice point, that’s our wheelhouse right now. This is where we’re selling successfully. These artists who are selling at this price point have a track record with us. We’ve been able to bring them up and increase their prices.” It takes time to cultivate those relationships. And patience.

ABN: How should artists pick galleries to work with?
Smith: Tough question. If you go with a publisher, the publisher already knows the galleries. There’s always [the approach of ] tucking your work under your arm and walking in their door, or writing them a letter, or sending them some sort of a quirky gift that they open and it takes them to your website, so you get noticed, things like that.
The other way is to participate in art fairs. Whether it be the local art fair or ArtExpo New York, that’s how you get your work seen, that’s how you put your hand in someone else’s hand and say, “let me show you my work.” That’s by far the best way to find galleries to work with. Gallery owners attend these fairs.
Jaffe: It takes a lot of legwork, research. You have to walk into galleries and look at what they’re hanging. See if there’s a some kind of simpatico relationship between what you have and what they’re selling. Not that it should be the same or similar, but that it there should be a relationship, a thread.
Most galleries represent a certain kind of artwork. If you’re a pop artist, you wouldn’t want to walk into a gallery that works with realism. If you’re a still-life painter, it would make no sense to walk into Pop International Galleries. You want to find a solid place where you can develop a relationship with the art dealer and see that there’s a particular place [for you] in that gallery. Takes time and effort and energy. I tell artist that they should look at hundreds of galleries and narrow it down to 15 and then select three–and then go after them.
Handler: The gallery has to have a good reputation. How would the artist know that? Ask for references. That’s not a crazy thing to ask for. For artists, they have to be working good-quality galleries that have a reputation for paying their bills. The artist should not be a bank for the gallery. When an artist puts in a piece of work on consignment–when that piece sells and is paid for, then the gallery should report that sale to the artist immediately and pay the artist his share.

“The gallery’s skill set is sales. It maximizes the time of an artist.”

ABN: What about doing shows?
Jaffe: Artists do events because collectors want to meet the artist. Collectors want to have a personal connection to the artists that they collect or buy.
Handler: Absolutely. That’s what connects the artist to the client. That’s one of our missions: to bridge the gap between the artist and the collector, where they can meet and have a relationship and social time together and create that environment where that can happen. Friendships are formed, so you’re not just buying a piece of art off the wall, you’re buying an experience. You’re buying that person–the personality of the artist, so that every time you look at that piece of art it reminds you of that great experience you had with that artist at a show.
Smith: Absolutely. A hypothetical: an artist has eight original pieces and ten prints in their inventory. A gallery takes them on and say six months go by and they sell 20 paintings or 20 prints, whatever, they start selling a little bit of work. After they establish a little bit of clientele, then it’s a good idea to do a show in the gallery and bring in some additional work, because you’ve got a built-in collector base. That’s the way to put on a productive show and broaden your collector base and sell to some existing collectors.
Artists should and you should want to. Part of the beauty of being an artist is selling your work to someone who appreciates it. That’s the really cool dynamic of being an artist and a collector. I can’t paint. But I certainly love talking to those who can. That’s what the art world is all about.

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