Hi I found how to use the squarespace, tutorial very helpful - last video, But I totally disagree with you on selling work directly from your webpage, I’ve been around the block, galleries can be very picky. They also take up-to 50% on sales. You might only have one exhibition a year and that may be only a group show. Just sell your work anyway you can and don’t wait for the Gallery to email you. Lawrie Simonson
As a published artist who has had plenty on national and international exhibitions, I will have to say I disagree. This is a very old way of thinking. If a gallery sees potential in selling your work they will take you on and then you will have to take down your online gallery. I would never tell artists to shy away from selling their work online however it’s true you must have a decent price point. I always aim for higher.
That's encouraging to hear. I've also heard that galleries can see it as a plus if you sell your work. It does seem very outdated to gatekeep artists who do
In fact, I believe it is much more valuable if the value of your art career remains attached to the value of your online products for the lower end of the spectrum-in those case, the combination of both as discussed at the end of the video can be most useful. Thank you for tuning in!
Beste Julien, je brengt steeds ‘high end’ info waar je echt iets aan hebt! Jouw manier van uitleggen staat in schril contrast met het zweverige taalgebruik dat in de kunstwereld gebruikt wordt. (Ik denk aan een programma op de klassieke zender van onze nationale radio-omroep waar kunstenaars uitgenodigd worden… waar hebben die mensen het in Gods naam soms over?
With respect, there is so much misinformation and presumption in this video. E-commerce is not a "desperate" choice by artists who can't get into galleries. It's a recognition that they have more to gain by managing their own art careers. Perhaps the data you present here is specifically for the European market. In the US, self-represented artists are thriving. There are simply not enough art galleries to represent all artists. And if you're talking about elitist galleries that deal specifically with blue chips, that aisle of opportunity narrows even further. Creators would grow old and die waiting to be chosen following some of the advice espoused here. The secret to thriving as an artist is learning how to market yourself and connecting to your target buyers.
It’s time for artists to ditch the galleries and take control. Why have a middle man? All the gallery and art manager are doing is getting rich of of other peoples talent.
I would recommend our video on the different career paths for artists with an open mind, discussing self-representation versus gallery representation. Galleries do a lot more than getting rich of other peoples talent; they take all the risks, invest in the artist's career, use their own money to create an ideal platform for the artist to be seen, collected, and to make a name for themselves.
I appreciate the discussion and insights. While I understand this is targeted towards artists, I would like your thoughts on how pretty much every major art gallery goes against a number your recommendations. Providing a large array of posters, tshirts, plates, and other heavily commercialized items of major artist's works. Showing prices even on expensive works, presenting artworks with "shown in a room" online mockup options. From Gagosian, to Tate, to DZ, MoMA, and especially Artsy, they all seem to be utilizing these online tools and techniques (albeit in combination with the traditional illusive measures). In your opinion, is there a reason why these online sales practices are good for the major galleries and online brokers but not for individual artists interested in representing and selling their artwork independently?
@clintslowik6490 The answer is quite simple here, a different role in the art world results in a different 'expected behavior.' It is acceptable for a gallery to be more commercially oriented than it is for an artist. A museum is allowed to have a gift shop and a mega-galleries such as DZ and Gagosian have become true institutes and thus major brands in the art world. But even here, please note how they combine both strategies as discussed at the end of our video; presenting products for the lower end of the market via their online store, but selling the top pieces more discretely. They sell books, posters, limited edition prints, or perhaps some small scale works below 2K, but we won't see a Georg Baselitz painting in the online shop of Gagosian, nor will we find a Neo Rauch masterpiece at David Zwirner's available works that are being listed online. Wishing you a great day!
Could artists have a similar structure, not listing the prices for their artwork but having a shop - akin to a giftshop - for merchandise and/or prints? @@contemporaryartissue
Hello Julien What do you think about M. Resch advice to artist at Gagosian Smack! At 1h:13 ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-21LbeVW_mQs.htmlfeature=shared
Could you please make a video for artists that want to sell prints of their paintings and not the original, for example best way to make the prints for big paintings and also the prices thank you
I am not sure if the message against selling your own work is universal or still totally true but I very much appreciate the last part where you cover having a portfolio and explain how to make the pdf. I have an MFA and feel silly that we never touched on this. It is totally new to me! Thank you for this and the template!
The pleasure is all mine! Yes, it is absolutely shocking that these essential and practical things are not being discussed at art school. It has become our mission with CAI to meet this urgent need for actionable advice from in-field experience. Wishing you all the best!
I'm headed in three days to visit Gagosian Gallery in Beverly Hills, along with entire swaths of contemporary art galleries in LA. It's just out of curiosity because I love experiencing contemporary art. I've enjoyed visiting the many "minor" galleries in LA but now, armed with CAI lists of the "cool" places, I'm looking forward to seeing how my perceptions of the art world might have changed.
Sounds terrific and a lot of fun! The artguide on Artforum might be most useful for your trip to find out what exhibitions are worth visiting at the moment. Wishing you all the best!
Thank you for this video! I was curious about this particular subject. I recently started reading books on marketing and sales, and I will soon be reading a book understanding art collectors and the art market. I'm looking to become more competent communicating to potential buyers in person.
That's terrific! One of my most recent personal favorites when it comes to art books for artists is this publication: amzn.to/3qYEX7K It has a great overview concerning the art system and corresponds perfectly with everything we teach on the channel. Feel free to have a look, and wishing you all the best!
I totally agree with you to separate your store from your portfolio. I think a portfolio is more "professional", an Instagram page can be used as a complement to your business card and your store should be more related to merchandising but if you want to sell your art from itself I think a goiid website with a portfolio and real contact and meetings are the best. One again very interesting subject
FineEpicArt I work outside the edges of the art world to create something distinct. To be the first at something is truly amazing. For I am the architect and first pioneer on the frontier of this new medium art form.
Thank you for your message, I will look into your purchase as soon as possible. Sometimes the download can be blocked by your browser. We’ll be in touch by mail!
There will be a meeting of high end galleries and art shops. CIA is leading in this way. There are millions of artist and more on the way. Traditional store front galleries are not suited to manage, filter and so leverage the categories the numbers represent; into a structured means of production/sales-that allows everyone to “eat cake”.
I find many of your videos really informative. While I understand the argument that an artist must avoid commercialization, such as listing prices, many artists are too early in their careers to seek gallery representation and would prefer not to starve. I'd love for you to create a video outlining in greater detail how an artist at each stage of their career should present themselves online. Can you go more in depth explaining best strategies for a beginner artist hoping to sell their work online versus an emerging artist looking for gallery representation? What steps might an artist take to successfully redevelop their online image as their skill level evolves and they advance to the next stage in their career?
This is a great and very nuanced suggestion! There are indeed various periods in your career that require various approaches. Thank you for the terrific suggestion, I have written down on my (rather extensive) to-do list. Wishing you a great day!
The Holy Art Gallery just excepted my work to put on display in London and Grease. Does anyone know about this gallery??? I want to make sure it’s not a scam. I have to pay even though they have excepted me
Never do pay to play galleries. They have no incentive to sell your work as you have already paid. You have no idea if they actually have space in those locations, and if the show is online, they have dozens of artists they are doing exactly the same thing to. Reputable galleries, in my experience, take your work with a contract stating their responsibilities and your responsibilities. They catalogue your art and take responsibility for actually promoting you. They have a limited number of spaces as they have a limited amount of wall space to display art.
I got lucky because I believe it was Holy Art Gallery's early entry into the market with my first digital hybrid exhibition in Greece. Another online gallery saw my work at the opening and invited me to participate in a group show. 2022 was my first year in an art residency and those shows gave me confidence to submit and receive more exhibitions for my Emerging Artist resume. That being said, like so many vanity situations the value of The Holy Art Gallery has declined, and the invited gallery has improved considerably but artists have to pay with no guarantee of showing so I stopped participating. One-offs seem to work for a time and I'd recommend ditching the practice as fast as possible so you don't get sucked into the game.
I believe in the long-run it is more valuable to keep all your art attached to your actual artist persona. You can give it a go, but it makes things a lot more complicated and there should be a clear distinction between your actual artistic oeuvre and the products being sold by your pseudonym. Hope this might help, and wishing you all the best!
