Over the last several days, I’ve discussed the ins and outs of showing your artwork in “vanity” galleries and co-op galleries. I would like to round out the discussion by considering whether it’s advisable for an artist to show his/her work in a traditional, consignment gallery. I won’t pretend to be objective about this model, since this is the model my gallery operates under, but I hope the comments will help keep the conversation balanced.
When most artists express a desire to gain gallery exposure, it is probably a traditional gallery that they are imagining. In a consignment gallery, the artist signs a contract to display work with the gallery, and then delivers artwork to the gallery for display and sale. The artist retains ownership of the artwork while it is on display until it is sold, at which time the gallery remits payment for the artwork, minus the gallery commission.
Unlike the other gallery models discussed previously, there is typically no up-front fee to show art with the gallery. The gallery assumes most of the risk of artwork not selling, but in return for assuming that risk, they typically take a 40-50% (and sometimes even higher) commission on the sale of artwork. This structure offers a real incentive for the gallery to actively promote and sell artwork. If the gallery doesn’t sell art, they don’t have revenue – it’s as simple as that.
It would be a mistake to say that all consignment galleries are created equal. There are many different types of consignment galleries. Some of these galleries grew out of frame shops that started displaying art for sale along with their frames. Some are created by art patrons who have a love for the visual arts and a desire to share art they love with their community (and they often also have deep pockets to help fund the gallery). There are small galleries that border on being more of a gift shop than a true gallery. There are also galleries that have been around for over a hundred years and are selling millions of dollars worth of art to collectors from around the world.
We should probably have conversations about each of these types of galleries, and perhaps we can in the comments and in future posts. For today’s discussion, I’m going to focus on galleries that are like mine, as I suspect these galleries make up a good portion of the traditional gallery market.
My wife and I established Xanadu Gallery in 2001, and we’ve focused on selling early- to mid-career, living artists. Average prices of art in the gallery range from $300 – $10,000 (although we do have several sculptures that range from $45,000-$95,000), and most of our sales are in the $1500-$7500 range.
I represent artists who range in experience from being very new to the art market (less than 5 years) to very well-established artists (30+ years in the market). My gallery space is about 2300 square feet.
In other words, by the specs, I have a pretty average gallery. There are many galleries across the country, and, indeed, around the world that are very similar to ours. I like to think that Xanadu is doing some interesting things to more proactively market to collectors, and that we are innovating on the internet and in the ways that we engage with artists. For the purpose of this discussion, however, I’m going to ignore what we are doing outside the norm, and focus on what we do in terms of representing artists and selling their work in our bricks-and-mortar gallery.
As in my previous posts on fee-for-representation galleries and co-op galleries, I’d like to lay out some of the advantages and disadvantage of working with a traditional gallery.
- Because a traditional gallery is reliant on sales for income, long-standing, traditional galleries tend to have higher sales volumes than fee-for-representation or co-op galleries. It’s hard to back this claim up with data, but from the reports I hear from artists who have shown in “vanity”, co-op, and/or traditional galleries, traditional galleries sell more work. I recently heard the sales figures for a major co-op gallery. This is a gallery with a large space and a number of great artists represented. The gallery’s total sales over the course of three years were less than one year of our art sales. I hope that doesn’t sound like bragging, because I don’t intend it to be. I simply want to illustrate that as a commercial gallery that has to sell to survive, we have to generate a high level of sales to stay in business.
- Related to the first point, prices of artwork in traditional galleries tend to be higher than in other galleries.
- Unlike co-op or fee-for-representation galleries, there is a much smaller up-front cost for an artist to show in a traditional gallery. Because of this, the initial financial risk for an artist showing in a traditional gallery tends to be lower.
- Traditional galleries tend to have better-trained, more proactive sales staff. Follow-up with clients tends to be better.
- Many artists feel a sense of prestige by showing in traditional galleries. If a gallery was willing to take on your work, they must feel confident that your work will sell. In some ways, it can feel like an independent validation of your art.
- Traditional galleries charge higher commissions than other galleries.
- There is no guarantee a traditional gallery will sell your artwork. Higher over-all volume is no guarantee for any individual artist that their work will sell.
- Because the traditional gallery assumes more upfront risk, this business model tends to be more volatile. Galleries go out of business at an alarming rate, especially when the economy is bad. Unfortunately, we’ve all heard stories of galleries being slow to pay for sales, or going out of business without having paid for sold artwork. So, while upfront risk may be less, long-term risk might actually be greater with a traditional gallery.
- It can be difficult for an artist to break into the commercial gallery market. Because traditional galleries take on more risk, they tend be pretty conservative in what they will show. Traditional galleries have to have a high degree of confidence that an artist’s work will sell before they will devote valuable display space. For an artist new to the art market, co-op or “vanity” galleries can offer space because it’s less of a risk for the gallery since the artist is paying up front for representation or membership.
- As the art market becomes more competitive (with online sales encroaching on gallery sales) the number of traditional galleries is decreasing.
In my other posts on galleries, many of you commented that “success depends on how well the gallery is run.” This applies to fee-for-representation galleries, to co-op galleries, and to traditional commercial galleries. A well-run “vanity” gallery will probably sell more of your work than a poorly-run traditional gallery. So, once again, before you begin working with a traditional gallery that wants to carry your work, it makes sense to research the gallery and perform some due diligence. Talk to other artists who are showing in the gallery and find out if they have had a good experience, and if their relationship with the gallery has been beneficial to them.
If you decide you want to pursue relationships with traditional galleries, I would humbly suggest a reading of my book, “Starving” to Successful. I wrote the book to help artists prepare themselves to successfully approach galleries, and I give a tried and true technique for making your approach to galleries.
Different Strokes for Different Folks
We have now discussed “vanity” galleries, co-op galleries, and traditional galleries. The comments to these posts have been awesome. The experiences you’ve shared will help other artists decide where to show their art, so thank you! Of course, as an artist is deciding where to show their work, the three types of galleries we’ve discussed aren’t the only options. Many artists these days are foregoing gallery representation altogether and going the route of self-representation. We will discuss the ups and downs of self-representation in an upcoming post.
What do You Think?
Is it worthwhile showing in traditional galleries? Have you had primarily positive or negative experiences working with galleries? What did I leave out of the advantages and disadvantages list? Please share your thoughts and advice about working with traditional galleries in the comments below. If you have something negative to say about a gallery, please don’t use the name of the gallery.
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In his Amazon.com best-selling book, Xanadu Gallery owner Jason Horejs shares insights gained over a life-time in the art business.