Choosing a Gallery

[Darryl Fective]

I've spoken with a couple different galleries and I've got multiple good-meaning friends trying to connect me with them to sell my work. I realize they have overhead and need to make money, but I was always hesitant to give away such a large cut. I'm rethinking that now, because the thought of setting up and occupying booth space is not all that appealing either. I'm new to this end of turning and starting to accumulate too much at home and in my shop, and wondered if there are any tips/suggestions on selecting and dealing with galleries. I don't know enough about it to even begin selection or ask the right questions, and maybe somebody with some experience can help me avoid (obvious/stupid) mistakes.

 

[hockenbery]

You might check on whether the gallery is responsible for stolen or damaged pieces. They have different policies.

I had some pieces shoplifted from a gallery and our contract said the gallery was not responsible for stolen items.
The gallery owner felt so bad because she was in the store when the pieces were stolen that she paid me 1/2 on the items

In Another gallery I had a destroyed hollow form pieces returned in a box with a check for full amount I would have recieved.

Another thing that may be negotiable over time is commission on individual series of pieces.
One gallery is was in wanted to carry my Christmas ornaments they saw at my booth in an arts show for their tree.
My contract with them was I could not undersell their price.
I wasn’t interested letting them sell them at my price with their commission.
They ended up agreeing to take a 20% commission.

 

[Brent@TurnRobust]

Good points from Al, but 20% seems like an awful small commission. Most will want 40 to 50%. Agree it's important to understand their commitment to honor broken, stolen or damaged items. These policies will vary dealer to dealer, but be sure you have it in writing so there is no misunderstanding. Your personal feelings on these issues will effect who you choose to deal with. As Al also shared, it is considered bad form to undersell the gallery prices.

Just another note, while your D.Fective turnings is humorous, and we all get the joke, you might choose something more professional when you deal with the galleries.

 

[Travis Tatomir]

I've spoken with a couple different galleries and I've got multiple good-meaning friends trying to connect me with them to sell my work. I realize they have overhead and need to make money, but I was always hesitant to give away such a large cut. I'm rethinking that now, because the thought of setting up and occupying booth space is not all that appealing either. I'm new to this end of turning and starting to accumulate too much at home and in my shop, and wondered if there are any tips/suggestions on selecting and dealing with galleries. I don't know enough about it to even begin selection or ask the right questions, and maybe somebody with some experience can help me avoid (obvious/stupid) mistakes.

When you say you've spoken with some galleries, did you meet the owner/curator? For me, this is a big part of the equation. If you're going to be giving 50% or whatever of your sale to someone, you want them to be professional and have a vision for selling art. You also want to like the cut of their jib, if you know what I mean. Check out their social media, the ones with the better social media game who make high quality posts with very few spelling mistakes are likely going to be more successful overall than the others (this isn't always true, some galleries manage to be successful while eschewing social media, but they're usually big-name big-money places with established high-end clientele). Make sure you're a good fit with the other work in the gallery, you want to find a balance between being unique enough to stand out from the other work there, and being similar enough to the other work that the people who walk in or frequent the gallery and like the work there have a good chance of liking yours as well.

Also, alot of the time you don't have to pick just one gallery. It's generally a good idea to spread your work out and avoid being in 2 galleries in the same city however. Some gallerists really like when you give them some sort of regional exclusivity and will work harder to push your work out the door if you agree, but you want to be very sure you're a good fit for eachother if you're doing something like this, unless you've got things going on in another region outside their proposed exclusivity range.

First impressions matter. If you've got a wierd feeling about the gallerist or the gallery in general, there's a reason for it. There's always a little nervousness upon meeting for the first time, but if you feel any red flags or little doubts in the back of your mind, there's probably a reason for it. Not all galleries and curators know what they're doing, and their success may be attributable to location or something else instead. Not necessarily a bad idea to be in a gallery if this is the case, but I find these kind of galleries tend to push themselves more than they push their artists' work, or have a tendency to want a particular type of piece from you rather than just giving you freedom to create what you want for them. That doesn't mean they can't do a good job selling your work, it will just be a different experience than a gallery that is built up on the skill, connections, and know-how of the gallery staff.

Location is an important consideration, but isn't always the best predictor of gallery success. You have a higher chance of selling to someone in a busy city centre or tourist trap kind of area, but it isn't a silver bullet that guarantees you'll sell work there.

 

[Larry Mercier]

When you say you've spoken with some galleries, did you meet the owner/curator? For me, this is a big part of the equation. If you're going to be giving 50% or whatever of your sale to someone, you want them to be professional and have a vision for selling art. You also want to like the cut of their jib, if you know what I mean. Check out their social media, the ones with the better social media game who make high quality posts with very few spelling mistakes are likely going to be more successful overall than the others (this isn't always true, some galleries manage to be successful while eschewing social media, but they're usually big-name big-money places with established high-end clientele). Make sure you're a good fit with the other work in the gallery, you want to find a balance between being unique enough to stand out from the other work there, and being similar enough to the other work that the people who walk in or frequent the gallery and like the work there have a good chance of liking yours as well.

Also, alot of the time you don't have to pick just one gallery. It's generally a good idea to spread your work out and avoid being in 2 galleries in the same city however. Some gallerists really like when you give them some sort of regional exclusivity and will work harder to push your work out the door if you agree, but you want to be very sure you're a good fit for eachother if you're doing something like this, unless you've got things going on in another region outside their proposed exclusivity range.

First impressions matter. If you've got a wierd feeling about the gallerist or the gallery in general, there's a reason for it. There's always a little nervousness upon meeting for the first time, but if you feel any red flags or little doubts in the back of your mind, there's probably a reason for it. Not all galleries and curators know what they're doing, and their success may be attributable to location or something else instead. Not necessarily a bad idea to be in a gallery if this is the case, but I find these kind of galleries tend to push themselves more than they push their artists' work, or have a tendency to want a particular type of piece from you rather than just giving you freedom to create what you want for them. That doesn't mean they can't do a good job selling your work, it will just be a different experience than a gallery that is built up on the skill, connections, and know-how of the gallery staff.

Location is an important consideration, but isn't always the best predictor of gallery success. You have a higher chance of selling to someone in a busy city centre or tourist trap kind of area, but it isn't a silver bullet that guarantees you'll sell work there.

 

[Darryl Fective]

Traverse City and the surrounding area is a popular tourist spot. There seem to be galleries all over. There was one that I liked to visit, and it was sort of my first choice, but it has closed. Many of the others seem to not care if you are there or not. I stopped in one up the road about a month ago, and looked around. They display work from a couple different local turners already. (novice-level work from non-club members) It was fun to look, but I was a little surprised that in the 15 or 20 minutes I was poking around there, the person at the counter didn't say a word.

 

[Travis Tatomir]

Traverse City and the surrounding area is a popular tourist spot. There seem to be galleries all over. There was one that I liked to visit, and it was sort of my first choice, but it has closed. Many of the others seem to not care if you are there or not. I stopped in one up the road about a month ago, and looked around. They display work from a couple different local turners already. (novice-level work from non-club members) It was fun to look, but I was a little surprised that in the 15 or 20 minutes I was poking around there, the person at the counter didn't say a word.

Tourist area galleries have a higher ratio of looky-lou's to serious customers, so they tend to tell their employees to sit back and watch people who come in and only approach people if they see them paused at a particular piece for a long time, if the people seem to want to be approached, or if they come in with a bunch of bling on and fancy clothes.

I've also heard alot of gallery employees say they can lose sales by approaching people too strong or too early, gives them a salesman vibe and tarnishes the experience for the potential customer.

Just a disclaimer, I'm by no means a bigshot turner or anything, I am speaking mostly from my experiences with galleries throughout my wife's oil painting career.

 

[Neil S]

I've never begrudged the gallery taking their almost 50% commission. It's work that I would never want to do myself. I'm grateful that they do what they do to allow me to do what I prefer to be doing.

I did have one large piece targeted and stolen from the gallery and in that case the gallery's insurance covered it.

 

[Perry Hilbert]

Not sure where this fits in. A newer type business, if convinced your wares are worth offering, gives the artist display space. The artists arranges and fills the display area and the business has one or two full time employees to ring up sales/ package items sold. At present the one near us, has about 30 different artists displaying their work. I do not know the "cut" but an artist I talked to was trying to get more space and was quite happy with the arrangement. At present the shop is open 4 days a week and holiday mondays. A similar business is opening nearby in a few weeks.

 

[Chris Lawrence]

Not sure where this fits in. A newer type business, if convinced your wares are worth offering, gives the artist display space. The artists arranges and fills the display area and the business has one or two full time employees to ring up sales/ package items sold. At present the one near us, has about 30 different artists displaying their work. I do not know the "cut" but an artist I talked to was trying to get more space and was quite happy with the arrangement. At present the shop is open 4 days a week and holiday mondays. A similar business is opening nearby in a few weeks.

I was in a place like this pre pandemic but unfortunately they did not survive being shut down. The artist rented space from them each month. The spaces ranged from book shelves, then small stalls 6 foot wide by 6 foot deep. They had a couple entire rooms as well. The spaces were reasonable I think the shelves were $50 a month and more for larger spaces. I did well enough that I had just moved up to a larger space before they shut down.

 

[Jerry Bennett]

I decide what I want for a piece, then they can add whatever they choose.

 

[Perry Hilbert]

Location, customer traffic, financial demographics of customers, security, environmental controls, hours, etc.

The place I referenced above is in a very popular for antique shops, (a concentration of large warehouses and old factories converted to sell antiques) with some artists and craftsmen having their own shops, (Glass blowing, painters, pottery, etc) The antiques are basic 19th century and 20th century house hold and farm goods, not high end European furniture that once belonged to royalty., There are also some eclectic restaurants scattered about. Draws a lot of customer traffic off a major US Highway with an exit just 3 blocks away.

 

[John Tisdale]

Some thoughts that may or may not be appropriate for you:
- Commission percentage can take a conversation down a zero-sum path. Instead, put "your price" on each piece and a suggested resale. The resale should should allow a designer discount of 20% - extending the designer discount to all customers is commonplace.
- Stanley Marcus (Neiman Marcus) had some worthwhile advice: "If it don't sell, raise the price." Nobody needs our work - they want something to show and talk about
- I do not have a website and do not have a business card. The gallery knows that "their" customers will not be going around them. I've had several shows and am always asked for a card or website - I respond "call the gallery".
- Just like you want to be in a neighborhood of more expensive homes, you want to be in a gallery where the offerings and artists are recognized and bring in the patrons (and designers shopping for those patrons) that can easily buy your work.
As with a spouse, it helps to make the right choice the first time - continually shopping for a better deal is usually a disaster.

 

[Richard Coers]

My thoughts, whether they are appreciated or not.
Most artists and craftsman are generally not great at being marketing and business experts. Always exceptions to the rules.
Galleries were the way to sell art in the 80s. It's gone down hill since. The gallery I showed at and had a solo show, now thinks Facebook is the only marketing they need.
Today's artists must live on social media and be tireless self promoters.
It takes a rare gallery to consider wood bowls and vessels as art, same goes for collectors and patrons.
The old money that made patrons for us are either dying, dead, or just plain have all the art they want. Also more than enough art for their heirs to get rid of. One of my patrons solved their problem by donating their collection to a university museum.
Finally, we need to remember that no one NEEDS anything we turn to live. You need to find the 1/10% of the 1% to even show your work too. Then an even smaller percentage will buy.
The only time of year I market now is the holidays. That means $100 or less gift items is what I can find a market for. None of that raise my prices to make it sell. That doesn't work in the Center of America where most young folks are working 2 jobs and paying huge child care costs to live.

Mods can delete if they desire, I just couldn't help myself from passing on 50 years of selling experience.

 

[Jerry Bennett]

Richard, you are exactly right. Most people are not entertained by art anymore except for the few of us that make it.
With 24/7 access to the world at their fingertips and a cacophony of subjects, cultures, disasters, perversions, and absurdity beyond belief, art is pretty low on the list. On top of that, the “Big” art world has alienated the majority of the populace with their silly proclamations as to what art is, and nobody understands any of it. If it makes no sense whatsoever, it must be art. When an idiot pays $150k for a banana taped to the wall, you know the loonies have taken over the farm.
You may say, Jerry does not “get it” - don’t bet on it.

 

[hockenbery]

Economy is always an issue for AAW and the art markets and craft markets.

Recession of 2007-2009 and Recession of 2020 both hurt the AAW. The Fed increased interest rate and we are not in recession now. Inflation hurts buying power when salaries don’t catch up. People don’t got to symposiums and they cancel memberships and they don’t but artwork. Wages eventually catch up but it’s a l long process.

Personally Being a retired DoD employee the we felt the 2007-2009 quite a bit. The 2020 has not affected us because the IRA’s kept their value and Colas cope with inflation in a delayed fashion.
It takes a while to recover the economy for all.
Not as bad as 2008 for most and a lot better for many.

Apple is still selling a lot of phones that cost $450 to make for $1000