It’s an interesting challenge. Don’t market yourself, but market yourself. With small and mid-size galleries disappearing, there is not that many places to show for emerging artists. Furthermore, if you are not in a major international city like New York, London, or Paris, your ability to move up the gallery food chain is extremely limited. Furthermore, galleries survive on only a few of the dozen or so artists they represent. As a new artist to a gallery, you got to hope you gain traction with the collector base or face the real risk of being dropped after your first or second solo show. Until you have proven yourself as being successful with the gallery’s collector based, the gallery will likely not invest much energy into marketing you. So, you are in this catch-22 situation where if you market yourself it is held against you, but if you don’t market yourself then on one else will. For most artists, I believe the gallery system is broken. Artists are in the same situation as musicians and bands, they need to do it on their own until they have a proven commercial appeal. At that point, a gallery might pick you up. The system you describe might work if you are in New York City and graduate from a name brand MFA program and have a really good grad show. That my 2 cent worth of feedback. Otherwise, I love the channel and this series on art.
Hi Chris, thank you for tuning in and writing down a very interesting comment with some great thoughts. Although I wish to add or comment on a few things you mention. I would not say you are not allowed to market yourself when no one else does, as long as you market in an accepted manner that is in line with the expected behavior for serious artists. Think of promoting yourself on Instagram, collaborating with an art platform for an article or interview, applying to art contests and residencies (where you can meet interesting people), hosting your own exhibitions, networking with various actors in the art world, and so on. When it comes to the major cities and the 'broken gallery system', I believe the issue is a little bit more nuanced. I believe it is still very possible to enter the gallery circuits of major art cities, even when you are living in a small town - although it is practically less convenient. What I never mention on this channel (because I am afraid of a role conflict) is that I am also an artist, besides being the director of CAI and CAI Gallery. I live in a small town in Belgium, Kortrijk, and have an MA in art history but when it comes to my art, I am self-taught. But by doing the things I have mentioned here as advice for artists, things that I have noticed and experienced both as a platform, gallery, and as an artist, have helped me tremendously. And with success. Today, I am invited for shows in major art cities such as Antwerp and Paris. The main problem is that the art world has never been as competitive as today, as there are more artists than there have ever been before. Thank you for this interesting discussion! All my best, Julien
There is one more piece of advice I forgot to write down in my previous comment concerning being dropped by a gallery due to the underwhelming sales. Build your own collector base and urge your collectors to buy your works when you have a show via the gallery. This way, you might not have the full 100%, but these sales may convince the gallery director to represent you in the long term. This also happens the other way around, when galleries work with a well-known artist they want to keep happy and convince them to work with them in the future, or want exclusivity, they sometimes buy some of the works themselves.
The level of hubris displayed by art galleries is astounding, the western current capitalist art market is beyond broken when you get these gate keepers stifling artists and looking down on them instead of doing their job as middle men, but it’s the fault of the artists who have given them all this power, without the artists relinquishing their power to them, the galleries go back to their original value of zero. Artists you need to understand your value and not sell out to them, it should be the other way around, they are the ones who need to grovel at your feet while you tell them not to cold contact you because it’s impolite. I’m hoping the social media platforms would help break up these cartels like what happened with the music industry, and they along with the artists who sold out to them would be forgotten like a bad dream.
You don't have the connections to the buyers. People aren't coming to you when you they want some art, they're coming to the physical store where they can see it. Also galleries have connections with artists and can point them to to certain artists if they're looking for a specific type of art. Maybe if you gain a social media following you can reach art buyers but you might miss the target demographic entirely, most of your followers can not afford to buy your art at decent prices. So it basically all comes down to your connections
YOUR value? LMBO!! Are you prepared to rent and upgrade a space to display art that meets the expectations of the art-buying public (not to mention equipped to meet the local safety codes for operating a public space)? How many people do you know that have a substantial discretionary income with which to buy art? Can you cover a payroll of two to five employees who take care of business and operational necessities of an art gallery? Gallerists need to handle work they can sell in order to pay for all that. Determining what constitutes salable work would be a discussion of several hours. Look, as an artist I'm as frustrated with the process as it appears you are. Maybe we all need to hire agents, but there's another thing I can't afford.
I think sometimes as an emerging artist you are just better off representing yourself and forging bonds with other artists to exhibit with rather than seeking gallery representation. I have been very fortunate to be able to participate in a lot of pop up art shows and art happenings… mostly through networking with other artists. These shows have really helped me to get comfortable representing my own art as well as trying to boost the visibility of all the participating artists. It is a really good way to learn the ins and outs of creating an exhibition and marketing as well as having a lot of freedom to experiment with different presentations.
Dear Matt, thank you for tuning in and for your valuable comment. At first, there is no other way than to represent yourself - however, you must do it subtly, whereas galleries can market your art more directly. Linking up with different artists is a great way to network. And we also agree that hosting your own shows or representing yourself at your own shows at the start is a great way to gather some experience and get some exhibitions in the book. It is much better to rent an exhibition space with a couple of artist friends than to work with a 'pay-to-play art gallery! Thank you for your contribution to this discussion, have a great day
Thank you. Good adivise. As a galerist, dealer and artist myself, i came to the realization that representing yourself remains the best way. Having a publicist (or/and an agent) will also be key to get in the public eye and being able to be recognized by the art world at large. That being said, it requires much patience, if your work is ahead of its time. I good friend and mentor once told me, when you enter into a gallery, see if you like the art, if you like it, talk to the people, if the communication goes well talk to them about your art or what you have for sell. No one has time to loose. When i had my gallery in santa monica, i received 10 to 30 portefoliios per week, and we did found some amazing art that we shown eventually. That being said most of the art we presented and dold was emerging southern calufornian artists from personal introduction (friends of friends) and from private collections.. So follow your intution and stay positive. Keep on producing art regardless of it being received or not. If you work is unique (high style) and good taste, your hour will come. A new renaissance will soon come and art that are about more then art will be honored.. that was henri matisse's idea.. symbolique and spiritual art will soon be in the forefront, above and beyond image makers (decoration arr). Just a few thoughts. Gratitude and blessings to all. GM
Some really good points here, especially by getting into galleries via friends of friends. This is indeed a very common practice. And certainly, follow your intuition and stay positive! Have a great day
Your comment has given me so much hope, for context, I'm an emerging artist in Kenya and my work is heavily symbolic, narrative and spiritual. so far the local art community really doesn't see the value in my work, Its strikingly very different from other African artists but i do believe my time will come.
This is very interesting what you say about spiritual art. I make art based on my spiritual experience and understandings, and I really don't know how it will affect people, but I do hope it has a profound impact on some. There's the occasional person who really feels it but I would love for more people to really appreciate it. There is so much potential for Spiritual art to awaken something in audiences. I feel that way anyhow. And the world really needs it. Thanks for sharing your thoughts. I just submitted My art and information to a magazine for the first time and I'm curious what their response will be.
This is the honest advice for every artist. Keep it positive and dont take rejection personally. Just put yourselves in the gallery owners shoes and imagine how you would deal with endless requests by artists to be represented. That should give you clarity about this business.
My advice is a complete different one. I made the mistake of following what they told us in art school: never approach a gallery yourself, wait, until a friend, who is already part of a gallery, introduces you.The fact is: most artists are very selfish and never introduce someone else to their gallerist. I know more than 500 artists personally, following the career of additional 1.500 over a time period of 15 years. All are living and working in Berlin. Those had the most success finding a gallery, who scanned the portfolio of all existing galleries in Berlin and Germany and introduced themselfs to those, where it could fit best programwise. Ratio is 1:10, maybe 1:20 means for one hit you have to contact between 10 and 20 galleries. Of course do not approach premium class galleries but tiny to medium galleries especially those which just entered the market...
I heard long ago, “It’s not what you know, it’s who you know.” That’s why it’s important to network, despite the artist’s tendency to be an introvert. The world belongs to those who know how to interact with others.
It definitely helps to be good at networking naturally, but there are other ways to get discovered for introverts as well. Feel free to watch our video How To Get Discovered next for more information and advice :-) And thank you for watching!
Correct me if I’m wrong but my view is that most artists that approach galleries directly make bad or mediocre work. If you make good work then it doesn’t matter how you approach, but 99% of artists that approach either make bad work or are awkward and unconfident when approaching.
This was very helpful. I am horribly shy, to the point that I'll involuntarily cry, so aggressive self promotion is not even a doable thing for me. Taking the long road is manageable. I live in Philly and we have a fantastic art scene and I really want to earn a place in it. I do want to share, one way I've met a number of artists is by life modeling at the schools in the city. It's been really helpful since I just have a hard time networking and socializing without feeling mentally prepared in advance.
I am not a self marketer… so I like the breadcrumbs idea. I feel my best chance is meeting other similar artists first. Just be patient but ready for the moment someone inquires
Absolutely. I am not a self-marketeer or a real 'networking person', and I must say the breadcrumbs work as a charm. Always go for a strategy you feel comfortable with.
Great advice as always. For a number of years I worked in an artist led gallery. We received public funding, so we actually accepted submissions for artists. Cold calling in person (sometimes including paintings in carrier bags!!) was also common and - if we had the time, we would have a chat. The first piece of advice we usually gave was ‘Don’t do this to any other gallery….’.
Hi Chris, how have you been? Terrific story, and terrific advice. I have also experienced similar things in the gallery. One time, a person walked into the gallery with an absolutely monumental painting and asked where he could hang it on the wall. The exhibition was installed very minimally and he was baffled I didn't allow it. His actual reaction was "but there is so much space left on the wall?"
@@contemporaryartissue Hi Julien. That’s hilarious. We once had someone who came in with a painting in a carrier bag, dumped it and ran out. I also had someone complaining on social media quite recently that we’d not given him a show - in the 90s! More seriously, an issue that occurred to me is how artists gain the attention of galleries through strategic networking if they live and work away from centres of the art world. A good example would be Manchester where I used to work. It’s a major city with a vibrant cultural life and a lively and ambitious art scene. However the gallery ‘system’ is largely reliant on public spaces and artist run galleries that do not include representation in their remit. While there is an art fair, the market is underdeveloped and the few commercial galleries are small, do not operate as dealers and (generally) don’t show cutting edge work. Likewise there’s limited access to critical and curatorial attention. With access to London a bit of a closed shop to anyone not already there (!) artists working in cities like this, still struggle to gain attention - nationally or internationally. My advice was to see what potential links they could make abroad. But it’s easier said than done if you’re not on the ground!
@@chrislethbridge1759 He ran out without his painting? Yes I agree, and it varies from city to city. There are a lot of smaller cities with terrific galleries. But generally speaking it is indeed a lot more difficult to network when you're not living in an artistic hotspot or major art city. However, I believe social media is a great way to get in touch with anyone, anywhere.
I just want to tell you all a real story.Maybe it will encourage someone . I am an selftought Artist that followed your advice from another video where you said every artist schould make their own style in painting .I did that and now I will have in February my first group exhibition in an Artgallery wich by the way is not a new Artgallery it is one with 30 years background. I started painting seriously less than a year ago .So there are allways exceptions from the pattern that allready exist. But the point is you don't have to limittate yourself for looking just in your area or country. You need to be more flexible and look overseas to maybe you have luck 🤞.
@John Bishop Fine Art That’s incredible. The financial risk still feels too great, as I provide for our family of five working I’m high tech. It will be a big change.
Thank you for making this video! I've always been mortified when visiting galleries with other artist friends in tow and they start asking about submission policies ( I do my best to slip away when this happens)! I'm going to see the work that interests me, not talk about myself/work, which I don't love doing anyway. For me, Galleries and Museums are more about art therapy when I need a healthy dose of culture and inspiration. : ) ~ Thank you making these- it's much needed information for artists and I'm enjoying the series.
Hi Jenny, thank you for tuning in and for sharing your thoughts and experiences. Visiting galleries in search for representation is most often an awkward and unfruitful venture indeed-especially if it does not feel right or natural. Happy to hear you enjoyed the series, feel free to stay tuned :)
Thank you soooooooooooooooo much for your input on what to do and what not to do when approaching an art gallery I had no idea but I'm learning thank you so much be safe and well. thank you
Thank you for another interesting video for artists with practical advice. The 'how' and 'why' information is clear and concise. Looking forward to your next video in this series.
Thank you very much for explaining so well what artists definitely shouldn't do. Approaching them at art fairs and sending out cold emails are such big No Gos! It's like walking through the streets wearing a shirt with the words "I'm such a desperate single. Who will marry me?" 😂 Getting in touch with gallery owners or curators is in fact about building relationships in an authentic and honest way. The right matches have to find each other. At least, this is my personal perspective on this topic. 🙂
Thank you! This was immensely helpful! I feel very happy to have uncontiously kept some of these values through my development phase and it's very gratifying to see it is not in vain!
The good thing is you can still make it in the art world via indirect networking strategies, without having to cold call or reach out. Thank you for tuning in!
@@contemporaryartissue eh. I tried I won real art prizes (those from public entities with a real jury made by artists and galleries and I had nothing to pay) without any problem since I don't have to be there and get to some real galleries (that make real expositions and have real clients) because they asked me to get involved, the only thing I got is invitations to others shows that I didn't follow and the things always end there. If you don't know anyone and you basically don't want to get around people or avoid everything social is nearly impossible to live as artist. Selling online those days is possible but there's an incredible amount of scammers that makes the experience not worth the money. Luckily I didn't lose a penny but it's incredible the time i wasted on stupid stuff and they get everyday more realistic. I think I'll burn some selling one day because I'm getting more and more tired of scammers. I got stuck in the idea that I'm not so good for a long time but at the end I'm only bad at selling myself and i don't think there is nothing to do. Unskilled on that since my first day of my life. I'm autistic so I know what I have to do but it's not really a thing I can learn or be natural at it. I think I need a good psychologist more than others.
I’m a 53 year old commercial illustrator. I had to stop working professionally because my hands can’t handle it anymore. I’ve never had to worry about galleries because I was busy working In illustration. I’m not social. I’d rather starve than schmooze with strangers hoping to get attention. No freaking way.
Do whatever you feel works for you! Overall, illustration art is also not really in the same realm as contemporary art. Different industries, different venues. Wishing you all the best!
Here's my approach; "No you may not buy my art, It's far too precious". If anyone does manage to convince me to sell a piece, they will pay dearly for the privilege, and will need to provide three character references along with details of where the work is to be displayed if at all. Keep your mitts off my artwork, you may glance at it temporarily, but then must look away after a reasonable time to give others a chance, and prevent visual theft.
Great channel. Guys, getting a hot gallery is like getting a hot girl. It all depends on how much time you have to dedicate to the pursuit. I feel what goes unsaid is that even if you follow the steps of the indirect method by showing your work with other artists etc the chance that THAT specific gallery never represents you are probably the same as the chance of you being polite and straightforward and confident with a direct approach and getting rejected. If your work is bad no method will get you representation anyways. And if it does it doesn’t mean the work will sell. If it’s good then it doesn’t matter, some gallery will find you some day, you can still shoot your shot with a hot one. You should be doing the indirect method if you’re social and enjoy it anyways but if you really like a gallery then use your charm to seduce them in looking at your work. Just walk in bite the head off a dove and ask for representation like ozzy Osborne would. Just be sure your work is about as good as his music.
Hi Boris, thank you for tuning in and the interesting comment. Yes, when the artist is good, you have of course better chances. And when the art is bad, even via the indirect method you won't get any invitations. However, when cold calling, in most cases they do not have a look at your art-hence the importance of this so-called "breadcrumbs" strategy.
Thanks for the advice..about to submit for a call for artists at a local gallery...it's smart of them to do it this way once a year and they charge $35 for submission. It's not in my favor as an artist though, but I respect their hustle.
Hi there, thank you for tuning in. Wishing you all the best! Also, be aware of art contests and exhibition open calls that almost seem to work as vanity art galleries, cashing in on the artist instead of working towards sales and mutually beneficial income.
@@contemporaryartissue oh thanks so much, yeah even when it's legit which this gallery here in NOLA is, it doesn't feel great to be paying a gallery to simply do their job finding artists. Even though the winners are supposed to have their own show and future representation, you can never know what the true intention is. This is my first time doing this and honestly i don't have the money to do this often. Thanks for the warning.
Great advice. It unfortunately shows a real flaw in the modern artworld. Of course there are great works out there, but i wonder how many great pieces and talents are being lost. Reaching the modern artworld is a skill on itself. So it takes two skills to get there, one that is not remotely related to art. And to thrive on it and expand ones own work there are tools that only investors can provide. The artworld should be like the japanese comic industry, they take everything, if it's good, you're on. I've been having difficulty as my work is too radical. I have some strong views about art that will make my relationships harder for sure. But i'm just beggining, ill follow those advices and try to find my crew, artists that are in a similar vibe, etc. thank you!
Hi Arthur thank you for tuning in and for an interesting comment. I believe you're spot on. That's why it is our mission to prevent artists from making certain mistakes or simply providing information and guidance how the art world works. Wishing you all the best in art (and in your life in general). Go for it!
Just camp outside of a restaurant and wait for your local Warhol to come in, so you can follow him inside and show him your drawings while he waits for his food. Simple as
Having an artist-run gallery is possible-but be aware of the risks, costs, and the conflict of being both the artist and the dealer, which is not always appreciated by both collectors and other actors/entities in the art world. Thank you for tuning in and have a great day!
Thank you for all your very insightful videos! One question I have been thinking about is, if I was going to have an art exhibition somewhere, would it be a good or bad idea to send a personal invitation or a flyer to other art galleries informing them of your exhibition?
Hi Karl, thank you for tuning in and a very good question. The response to those emails or invitation is most of very low to none. It can be done but I wouldn't advise it. There are other ways to promote your exhibition for instance via social media or in the press and that way they can indirectly be interested in your show, which is better. On the other hand, you could organize a private viewing before the opening and invite not only other galleries but also curators, collectors, the press, et cetera. Wishing you all the best!
And what do you recommend to post digital artwork? For it no to be copied I mean. I am very recently starting in this world besides de painting and I’m afraid of people copy and paste it. Thatnks for all what you share🎉
i have to admit, as a person with adhd/autism i find the emphasis on socializing and networking to be frustrating. socializing with the goal of furthering my career as an artist feels disingenuous.
Dear Jesse, do not despair! There are numerous ways the get seen without having to be good at networking. Feel free to read our article on how to get discovered as an artist on contemporaryartissue.com Wishing you all the best!
Should we redefine who is consuming artwork? Is it traditional collectors, the new middle-class, or even the younger group? Are these principles you express suitable only for traditional collectors?
What about vanity galleries? I recently was approached by someone who has galleries in Madri, Berlin, New York. They have concrete galleries but require my paying to be hung. I didn't investigate it one i heard it was a vanity gallery but these locations are better than my small village in Spain 😄
Hi there, thank you for tuning in. Yes, we discussed vanity galleries in our extensive video on the art gallery-advising you to avoid them. Instead, we aim to find mutually beneficial collaborations in which the gallery is motivated to make sales. Feel free to watch the video in question later :-) Wishing you all the best!
Could be an interesting topic to create a new video! But in short, art speak can be immensely overwhelming or for some be even irritating. But I feel it is the result of passionate writing, because I get to it as well when I get carried away writing a press release or essay for an exhibition catalog. But it belongs in my opinion predominantly to writing, and not so much in a dialogue with a peer or friend
Hi there, the works look great, right? Sadly, this is a stock image I bought for this thumbnail, so the artist is unknown nor credited. It looks like it could be by Ruprecht von Kauffman? Have a great day!
A lot of contemporary galleries boast of hanging distinguished artists who are renown because they have won certain prizes/ competitions or are lecturers at a specific university or are in the know due to some publicity. They often have very little skill and artistic ability but they are packaged well. That's why styles like Minimalism, or Performance artists, some Op artists and Pop artists and Abstract Expressionist and Art Pov. was successful. Much 'high-end' art is the king has no clothes on. Go to the right parties, rub shoulders (or more) with the right people, play the little games and package the approach. Meanwhile artists with fine hand-eye coordinations, exceptional skills with well developed compositions are pursuing other avenues. It's like comparing pop music to classical... the Sex-Pistols to Claude Debussy.
There are still many skilled artists in the high-end contemporary art world; Michaël Borremans, Neo Rauch, Peter Doig, Jenny Saville, etc. But of course if you prefer academic painting over more innovative painting than it is indeed not your cup of tea-but there is plenty for every taste!
@@contemporaryartissue The above given list are artists with drafting skill, and particularlily with figurative work. And like so many paint with a touch of the haunting or surreal, or HUGE to overwhelm the audience. Their work refelects our unstable and lost era. Thanks for the reply and references.
Being an introvert, I cringe whenever I hear advice to “get out there and market myself.” Doing that kind of thing is very unnatural for me. The shallow and phony, “fake it until you make approach to achieving gallery representation,” can’t be the only way for fine artists or people in general to get along in life. It’s a real struggle in our society and, for fine artists who tend to be or perhaps need to be more socially isolated than other people and, who rely on a gallery system that is so used to be inundated with requests that galleries that spend the effort digging for discoveries are rare. They do exist though, just not enough of them. The two that I have experience with, a small gallery in NYC and a high end gallery in California, are owned and run by people who are really dedicated to fine art. They don’t fill their shows out of the stable of artists they have shown for years, the art in their shows span a very broad range of genres and, the art they show is of a very high quality. Another characteristic these two unrelated galleries have in common is that they do shows for new and/or emerging artists. It is obvious when you talk to the people involved in these galleries that they love what they do and they love art. One of these galleries is involved in collecting for themselves. Asking if a gallerist collects fine art themself, and what genres they collect, has become an important conversation topic for me. It’s rare that I speak to a gallerist who is believably an avid collector themself.
I'm interested in how to make a gallery remember you. I live in a small town and go to the city once a month, see shows in galleries I think suit my work, and if I'm not working, try and go to their openings, but some of these places I have been attending a few years, and I'm thinking are they EVER going to ask if I maybe am an artist and what's my work like? There's one gallery I've been following ten years, they know I'm an artist by now but never asked my name. It just feels a bit ridiculous?!
Hi there, good question, and thank you for sharing these experiences. A subtle way to make them realize you are an artist is via Instagram. Share their exhibitions in your stories with your artist account, comment, and DM them with the same account, and if they link it is you and realize they have known you for a while now, they will have a brief look at your work on Instagram for sure.
Ah what the heck, here’s my 2 bits. To define success I say we include a degree of fame and high degree of income. To get there one will need to be all consumed by one’s ambition, this will be such an obsession that every activity will be in orbit around this quest. When one devotes all focus and energy results are guaranteed. No stone unturned. Failures, setbacks and criticisms is just the shit we’ve got to shovel out of our stalls so we can put in fresh bedding. Being an artist is a rarity at an order of magnitude greater than the usual occupation. Successful artists are another order of magnitude apart again, to get there requires commensurate investment. I haven’t mentioned talent because it is like a wild card in a hand we’re dealt that can win or lose spectacularly when relied upon.
Thanks so much for this video. I was wondering, I'm currently living and working in Houston, but am considering moving to Romania. Is there a path for introducing myself to a European art market, or Eastern European art market before I move? It's not as though I can currently show up for gallery events and art openings from the USA, but I would love to take steps now to make the transition to an art scene that is really far away.
Hi John, good question. I believe the best way to get in touch with a new art scene as an artist is by getting to know the artists of the art scene first. In Cluj there is the Fabrica de Pensule, a true hotspot of artists. Maybe this could be a great place to start. Good luck!
This episode was particularly interesting for me as I am going for the indirect or covert networking using Instagram and yes it works if only I had more time to invest Thank you so much merci beaucoup vos videos sont tres bien pensees et faites je m'eduque.
Maybe the best way of dealing with the hard labour of your artwork is by selling your work yourself, and having your own gallery. For minorities it is extremely difficult to insert yourself in this established art system.
For every beginning artist is difficult to enter the gallery circuit. However, starting your own gallery or selling your work yourself is much harder than one might think. The galleries take risks, and have the collector's base, the accommodation, the experience, and the expertise one needs to not only sell a few pieces but to grow your career for long-term success.
No no no. Here is how you get into any gallery: You hire people to go into a gallery a couple times a week or better every day and ask if the gallery sells your work. Disapointed they spit on the floor and leave. After some time the gallery will contact you and you reply with: "What do you losers want?!" Instant success. You can mail me money. You are welcome!
This is a business, not even close to Real Art, I imagine Vincent van Gogh listening to you! It's not about the value of the work, it's a market ! this is disgusting
Not necessarily. However, with these online galleries they do not do many things to actually promote your work, and your works will be featured alongside hundreds of others. So the results are often rather underwhelming. You could do your research about these online galleries, and maybe give one a go just to test things out. But in general, I advise not to work with them because they might scare away actual galleries. The only truly accepted market place for serious artists is Artsy. But the only way to get on Artsy is by working with a serious gallery.
Malevich's "Black Square" put an end to the depiction of reality and laid the foundations for the development of all contemporary art. Before the First World War, Hobbes' ideas reached their limit, as historians say, the spirit of war was simply in the air. 1911 Gioconda is stolen, the French blame the Germans for everything and France is going to declare war on Germany. The feeling of the inevitability of the approaching end was expressed by Malevich with his Black Square. In the future, his ideas will serve as an impetus for Victor Vasarely and the creation of a new style in Op-art art - on the basis of which all computer graphics are built. We are on the verge of discovering a quantum computer, and light plays the main role here, therefore "Victory over black..."th-cam.com/video/ALW8-tclRHk/w-d-xo.html is inevitable.
Imagine being upset because an artist would like to know how they should go about inquiring how to be considered. Oh so you tell them but that way they will not open the email. Whatever fuck’em. This is one of the rules I say 🖕🏾
It is true the art world is problematically competitive for artists. Never before have there been so many artists, so it is important to distinguish yourself. Thank you for tuning in!
@@Allenmayesallenmayes It is not only who you know, I believe it is a lot more nuanced, with many introvert artists also being picked up by galleries. Good work will always be rewarded and find recognition in the art world.
I do think there's a lot of interesting things in this video and a lot of things that make sense. In general, it's a bit like trying to make sense of something that's not nonsensical in my opinion, like, you're basically saying you just need to disguise your marketing tactics more. Which I think is decent advice and I think there are some good tips in here. However, what is interesting and confusing to me is that there are other views on this by people who also seem to have a lot of connections and experience with this very question. I'll give you one example, I am sure you've probably heard of this person: th-cam.com/users/shortsO1NwzgIkb0c?si=YyEUyvOWx40iTvkk. And I've read his book and I think he has a lot of good tips as well. But he's basically advocating the opposite of what you're saying. I believe his approach is: why not send out 100 emails and get 6 good responses. Maybe all six will lead to nothing, but what if it's five? Then all of a sudden you have one opportunity you didn't have. I get what everyone here is saying of course. And I'm sure I would be annoyed if I owned the gallery at the number of emails I get. But that's what you signed up for isn't it? You're supposed to be hunting for artists. It's not like getting inundated with calls for plumbing upgrades. It's relevant to what they're doing. And I I'm just trying to theorize on something that's obviously very difficult. But I don't think it does much good at the beginning to pretend like you don't need help. I get what you're saying about looking weak by asking for shows. but it's also possible, isn't it, that you're gonna stay weak by not experimenting. Not everyone can work and not everyone can go to cities. That's the truth too. I really don't think people who need the help are going to be able to bluff their way into turning networking events into real opportunities. Possible. Who knows. I don't have any idea. Of course I'm not suggesting that sending emails is the only thing you should do. But I just don't see the harm. If they're going to delete it anyway then it doesn't really matter. But in the off chance that you do get a response, it might be worth it.
Hi! amazing Art Tips there but...do you honestly want us *Artists* all to _"cut off our ear"_ like *Van* *Gogh,* with your *Dislexic* Statements?! You started off by saying "don't market yourself" and by the end of your video, you're saying its definetly okay to *market* *yourself.* Let me tell you how I roll. Whenever I come up with a new Design or Product, or Art Piece (remember, we're Renaissance Artists in todays #inflation #recession times just like *Leonardo* *Da* *Vinci,* Baby), I ram it down people's throats like a *TV* *Infomercial* at 3:25 a.m. There is no shame when you're trying to *make* *rent* in #LosAngeles . _Watch Me Work._
It’s an interesting challenge. Don’t market yourself, but market yourself. With small and mid-size galleries disappearing, there is not that many places to show for emerging artists. Furthermore, if you are not in a major international city like New York, London, or Paris, your ability to move up the gallery food chain is extremely limited. Furthermore, galleries survive on only a few of the dozen or so artists they represent. As a new artist to a gallery, you got to hope you gain traction with the collector base or face the real risk of being dropped after your first or second solo show. Until you have proven yourself as being successful with the gallery’s collector based, the gallery will likely not invest much energy into marketing you. So, you are in this catch-22 situation where if you market yourself it is held against you, but if you don’t market yourself then on one else will. For most artists, I believe the gallery system is broken. Artists are in the same situation as musicians and bands, they need to do it on their own until they have a proven commercial appeal. At that point, a gallery might pick you up. The system you describe might work if you are in New York City and graduate from a name brand MFA program and have a really good grad show. That my 2 cent worth of feedback. Otherwise, I love the channel and this series on art.
Hi Chris, thank you for tuning in and writing down a very interesting comment with some great thoughts. Although I wish to add or comment on a few things you mention. I would not say you are not allowed to market yourself when no one else does, as long as you market in an accepted manner that is in line with the expected behavior for serious artists. Think of promoting yourself on Instagram, collaborating with an art platform for an article or interview, applying to art contests and residencies (where you can meet interesting people), hosting your own exhibitions, networking with various actors in the art world, and so on. When it comes to the major cities and the 'broken gallery system', I believe the issue is a little bit more nuanced. I believe it is still very possible to enter the gallery circuits of major art cities, even when you are living in a small town - although it is practically less convenient. What I never mention on this channel (because I am afraid of a role conflict) is that I am also an artist, besides being the director of CAI and CAI Gallery. I live in a small town in Belgium, Kortrijk, and have an MA in art history but when it comes to my art, I am self-taught. But by doing the things I have mentioned here as advice for artists, things that I have noticed and experienced both as a platform, gallery, and as an artist, have helped me tremendously. And with success. Today, I am invited for shows in major art cities such as Antwerp and Paris. The main problem is that the art world has never been as competitive as today, as there are more artists than there have ever been before. Thank you for this interesting discussion! All my best, Julien
There is one more piece of advice I forgot to write down in my previous comment concerning being dropped by a gallery due to the underwhelming sales. Build your own collector base and urge your collectors to buy your works when you have a show via the gallery. This way, you might not have the full 100%, but these sales may convince the gallery director to represent you in the long term. This also happens the other way around, when galleries work with a well-known artist they want to keep happy and convince them to work with them in the future, or want exclusivity, they sometimes buy some of the works themselves.
Very rightly said
You're whiney
Thank you! It has answered my question this morning!
The level of hubris displayed by art galleries is astounding, the western current capitalist art market is beyond broken when you get these gate keepers stifling artists and looking down on them instead of doing their job as middle men, but it’s the fault of the artists who have given them all this power, without the artists relinquishing their power to them, the galleries go back to their original value of zero. Artists you need to understand your value and not sell out to them, it should be the other way around, they are the ones who need to grovel at your feet while you tell them not to cold contact you because it’s impolite. I’m hoping the social media platforms would help break up these cartels like what happened with the music industry, and they along with the artists who sold out to them would be forgotten like a bad dream.
🙏
You don't have the connections to the buyers. People aren't coming to you when you they want some art, they're coming to the physical store where they can see it. Also galleries have connections with artists and can point them to to certain artists if they're looking for a specific type of art. Maybe if you gain a social media following you can reach art buyers but you might miss the target demographic entirely, most of your followers can not afford to buy your art at decent prices. So it basically all comes down to your connections
YOUR value? LMBO!! Are you prepared to rent and upgrade a space to display art that meets the expectations of the art-buying public (not to mention equipped to meet the local safety codes for operating a public space)? How many people do you know that have a substantial discretionary income with which to buy art? Can you cover a payroll of two to five employees who take care of business and operational necessities of an art gallery? Gallerists need to handle work they can sell in order to pay for all that. Determining what constitutes salable work would be a discussion of several hours.
Look, as an artist I'm as frustrated with the process as it appears you are. Maybe we all need to hire agents, but there's another thing I can't afford.
I think sometimes as an emerging artist you are just better off representing yourself and forging bonds with other artists to exhibit with rather than seeking gallery representation. I have been very fortunate to be able to participate in a lot of pop up art shows and art happenings… mostly through networking with other artists. These shows have really helped me to get comfortable representing my own art as well as trying to boost the visibility of all the participating artists. It is a really good way to learn the ins and outs of creating an exhibition and marketing as well as having a lot of freedom to experiment with different presentations.
Dear Matt, thank you for tuning in and for your valuable comment. At first, there is no other way than to represent yourself - however, you must do it subtly, whereas galleries can market your art more directly. Linking up with different artists is a great way to network. And we also agree that hosting your own shows or representing yourself at your own shows at the start is a great way to gather some experience and get some exhibitions in the book. It is much better to rent an exhibition space with a couple of artist friends than to work with a 'pay-to-play art gallery! Thank you for your contribution to this discussion, have a great day
@@contemporaryartissue what would be considered subtle versus non-subtle self promotion?
Thank you. Good adivise. As a galerist, dealer and artist myself, i came to the realization that representing yourself remains the best way. Having a publicist (or/and an agent) will also be key to get in the public eye and being able to be recognized by the art world at large. That being said, it requires much patience, if your work is ahead of its time. I good friend and mentor once told me, when you enter into a gallery, see if you like the art, if you like it, talk to the people, if the communication goes well talk to them about your art or what you have for sell. No one has time to loose. When i had my gallery in santa monica, i received 10 to 30 portefoliios per week, and we did found some amazing art that we shown eventually. That being said most of the art we presented and dold was emerging southern calufornian artists from personal introduction (friends of friends) and from private collections.. So follow your intution and stay positive. Keep on producing art regardless of it being received or not. If you work is unique (high style) and good taste, your hour will come. A new renaissance will soon come and art that are about more then art will be honored.. that was henri matisse's idea.. symbolique and spiritual art will soon be in the forefront, above and beyond image makers (decoration arr). Just a few thoughts. Gratitude and blessings to all. GM
Some really good points here, especially by getting into galleries via friends of friends. This is indeed a very common practice. And certainly, follow your intuition and stay positive! Have a great day
Your comment has given me so much hope, for context, I'm an emerging artist in Kenya and my work is heavily symbolic, narrative and spiritual. so far the local art community really doesn't see the value in my work, Its strikingly very different from other African artists but i do believe my time will come.
This is very interesting what you say about spiritual art. I make art based on my spiritual experience and understandings, and I really don't know how it will affect people, but I do hope it has a profound impact on some. There's the occasional person who really feels it but I would love for more people to really appreciate it. There is so much potential for Spiritual art to awaken something in audiences. I feel that way anyhow. And the world really needs it. Thanks for sharing your thoughts. I just submitted My art and information to a magazine for the first time and I'm curious what their response will be.
This is the honest advice for every artist. Keep it positive and dont take rejection personally. Just put yourselves in the gallery owners shoes and imagine how you would deal with endless requests by artists to be represented. That should give you clarity about this business.
Absolutely, well summarized. Thank you!
True
My advice is a complete different one. I made the mistake of following what they told us in art school: never approach a gallery yourself, wait, until a friend, who is already part of a gallery, introduces you.The fact is: most artists are very selfish and never introduce someone else to their gallerist.
I know more than 500 artists personally, following the career of additional 1.500 over a time period of 15 years. All are living and working in Berlin. Those had the most success finding a gallery, who scanned the portfolio of all existing galleries in Berlin and Germany and introduced themselfs to those, where it could fit best programwise.
Ratio is 1:10, maybe 1:20 means for one hit you have to contact between 10 and 20 galleries.
Of course do not approach premium class galleries but tiny to medium galleries especially those which just entered the market...
I heard long ago, “It’s not what you know, it’s who you know.” That’s why it’s important to network, despite the artist’s tendency to be an introvert. The world belongs to those who know how to interact with others.
It definitely helps to be good at networking naturally, but there are other ways to get discovered for introverts as well. Feel free to watch our video How To Get Discovered next for more information and advice :-) And thank you for watching!
Art is a bs industry. You really just have to make art because you love it.
All valid points. Knowledge nobody's going to give you. Very succinctly put
Thank you so much for tuning in!
now I understand why I got turned down by Galleries thank you for your wisdom
Hi Lori, the pleasure is all mine. Have a great day!
Having worked briefly as a gallery manager, I can absolutely confirm everything said here.
Thank you for tuning in!
Correct me if I’m wrong but my view is that most artists that approach galleries directly make bad or mediocre work. If you make good work then it doesn’t matter how you approach, but 99% of artists that approach either make bad work or are awkward and unconfident when approaching.
This was very helpful. I am horribly shy, to the point that I'll involuntarily cry, so aggressive self promotion is not even a doable thing for me. Taking the long road is manageable. I live in Philly and we have a fantastic art scene and I really want to earn a place in it. I do want to share, one way I've met a number of artists is by life modeling at the schools in the city. It's been really helpful since I just have a hard time networking and socializing without feeling mentally prepared in advance.
I am not a self marketer… so I like the breadcrumbs idea. I feel my best chance is meeting other similar artists first. Just be patient but ready for the moment someone inquires
Absolutely. I am not a self-marketeer or a real 'networking person', and I must say the breadcrumbs work as a charm. Always go for a strategy you feel comfortable with.
Great advice as always. For a number of years I worked in an artist led gallery. We received public funding, so we actually accepted submissions for artists. Cold calling in person (sometimes including paintings in carrier bags!!) was also common and - if we had the time, we would have a chat. The first piece of advice we usually gave was ‘Don’t do this to any other gallery….’.
Correction. Submissions from artists.
Hi Chris, how have you been? Terrific story, and terrific advice. I have also experienced similar things in the gallery. One time, a person walked into the gallery with an absolutely monumental painting and asked where he could hang it on the wall. The exhibition was installed very minimally and he was baffled I didn't allow it. His actual reaction was "but there is so much space left on the wall?"
@@contemporaryartissue Hi Julien. That’s hilarious. We once had someone who came in with a painting in a carrier bag, dumped it and ran out. I also had someone complaining on social media quite recently that we’d not given him a show - in the 90s!
More seriously, an issue that occurred to me is how artists gain the attention of galleries through strategic networking if they live and work away from centres of the art world. A good example would be Manchester where I used to work. It’s a major city with a vibrant cultural life and a lively and ambitious art scene. However the gallery ‘system’ is largely reliant on public spaces and artist run galleries that do not include representation in their remit. While there is an art fair, the market is underdeveloped and the few commercial galleries are small, do not operate as dealers and (generally) don’t show cutting edge work. Likewise there’s limited access to critical and curatorial attention. With access to London a bit of a closed shop to anyone not already there (!) artists working in cities like this, still struggle to gain attention - nationally or internationally. My advice was to see what potential links they could make abroad. But it’s easier said than done if you’re not on the ground!
@@chrislethbridge1759 He ran out without his painting?
Yes I agree, and it varies from city to city. There are a lot of smaller cities with terrific galleries. But generally speaking it is indeed a lot more difficult to network when you're not living in an artistic hotspot or major art city. However, I believe social media is a great way to get in touch with anyone, anywhere.
I just want to tell you all a real story.Maybe it will encourage someone .
I am an selftought Artist that followed your advice from another video where you said every artist schould make their own style in painting .I did that and now I will have in February my first group exhibition in an Artgallery wich by the way is not a new Artgallery it is one with 30 years background. I started painting seriously less than a year ago .So there are allways exceptions from the pattern that allready exist.
But the point is you don't have to limittate yourself for looking just in your area or country. You need to be more flexible and look overseas to maybe you have luck 🤞.
Hi there, what a great story. Inspiring and full of hope for others! Thank you for sharing and wishing you all the best!
Thank you! I’ve just starting selling some work and am excited to grow my art community. This is exactly the guidance I need!
That's terrific to hear. Go for it!
Best of luck Suzanne. I gave up the day job in 2015, and haven't regretted a single day.
@John Bishop Fine Art That’s incredible. The financial risk still feels too great, as I provide for our family of five working I’m high tech. It will be a big change.
Thank you for making this video! I've always been mortified when visiting galleries with other artist friends in tow and they start asking about submission policies ( I do my best to slip away when this happens)! I'm going to see the work that interests me, not talk about myself/work, which I don't love doing anyway. For me, Galleries and Museums are more about art therapy when I need a healthy dose of culture and
inspiration. : ) ~ Thank you making these- it's much needed information for artists and I'm enjoying the series.
Hi Jenny, thank you for tuning in and for sharing your thoughts and experiences. Visiting galleries in search for representation is most often an awkward and unfruitful venture indeed-especially if it does not feel right or natural. Happy to hear you enjoyed the series, feel free to stay tuned :)
Absolutely. It also makes an artist look cheap for attention.
I am loving the advice from your videos, you guys are my favorite art channel by far at the moment.
That's terrific! Thank you so much for tuning in and for taking the time to write this most kind comment. We appreciate you! Have a great day
Thank you so much, your videos are soundtrack for my painting process today.And tomorrow.
That's great to hear! Go for it! Thank you for tuning in
It was so eye opening information! Finally I got an answer to these issues! Thank you!
Absolutely great advice. I really appreciate sharing this with us all. Stay blessed.
The pleasure is all mine, stay blessed!
Thank you soooooooooooooooo much for your input on what to do and what not to do when approaching an art gallery I had no idea but I'm learning thank you so much be safe and well. thank you
The pleasure is all mine, wishing you all the best! Thank you for tuning in
Thank you so much for these videos, I can't even begin to telly you how incredibly valuable this info ha been.
That's great to hear! Thank you for tuning in and for taking the time to write this comment
Thank you for another interesting video for artists with practical advice. The 'how' and 'why' information is clear and concise. Looking forward to your next video in this series.
Thank you Kate for your most kind words, appreciate it! Have a great day
Perfect presentation. Et j'ai appris quelque chose.
Merci beaucoup!
Thank you very much for explaining so well what artists definitely shouldn't do. Approaching them at art fairs and sending out cold emails are such big No Gos! It's like walking through the streets wearing a shirt with the words "I'm such a desperate single. Who will marry me?" 😂
Getting in touch with gallery owners or curators is in fact about building relationships in an authentic and honest way. The right matches have to find each other. At least, this is my personal perspective on this topic. 🙂
Great videos (and accent). Very clean, clear and professional. Thanks!
thank you for your time and help for us, emerging artists. Fantastic video, I will recommend it to all my friends - artists to watch.
That's great to hear, Alexandra. All my best! Julien
Thanks for your advices!! , it really showed me my most mistakes
That's great to hear! Feel free to stay tuned for more career advice. Wishing you all the best!
Thank you! This was immensely helpful! I feel very happy to have uncontiously kept some of these values through my development phase and it's very gratifying to see it is not in vain!
Absolutely. Keep going, go for it!
Precious insights that I'll show my students if I were to teach Professional Development module!
Sounds terrific. Thank you so much for tuning in and have a great day!
I'll sign up for a professional development course!
So good! Thank you very much. Have been guilty of this for sure.
The pleasure is all mine! Thank you for tuning in
Don't, you're handing them all the power.
Great advice again, thanks!
Very cool thank you very much mister
The pleasure is all mine!
Thank you for these.
The pleasure is all mine!
I am curious: what you would suggest in terms of approaching a gallery in another city or even country?
Thank you, this is very helpful.
Very helpful.
Thank you for tuning in!
Yeah I agree with your points and I understand why I'll never be able to contact anyone since I have social anxiety and can't go around people...
The good thing is you can still make it in the art world via indirect networking strategies, without having to cold call or reach out. Thank you for tuning in!
@@contemporaryartissue eh. I tried I won real art prizes (those from public entities with a real jury made by artists and galleries and I had nothing to pay) without any problem since I don't have to be there and get to some real galleries (that make real expositions and have real clients) because they asked me to get involved, the only thing I got is invitations to others shows that I didn't follow and the things always end there. If you don't know anyone and you basically don't want to get around people or avoid everything social is nearly impossible to live as artist. Selling online those days is possible but there's an incredible amount of scammers that makes the experience not worth the money. Luckily I didn't lose a penny but it's incredible the time i wasted on stupid stuff and they get everyday more realistic. I think I'll burn some selling one day because I'm getting more and more tired of scammers.
I got stuck in the idea that I'm not so good for a long time but at the end I'm only bad at selling myself and i don't think there is nothing to do. Unskilled on that since my first day of my life. I'm autistic so I know what I have to do but it's not really a thing I can learn or be natural at it. I think I need a good psychologist more than others.
@@contemporaryartissue thanks a lot for your videos though. I think they are quite unique and informative on this platform.
I’m a 53 year old commercial illustrator. I had to stop working professionally because my hands can’t handle it anymore. I’ve never had to worry about galleries because I was busy working In illustration. I’m not social. I’d rather starve than schmooze with strangers hoping to get attention. No freaking way.
Do whatever you feel works for you! Overall, illustration art is also not really in the same realm as contemporary art. Different industries, different venues. Wishing you all the best!
Here's my approach; "No you may not buy my art, It's far too precious". If anyone does manage to convince me to sell a piece, they will pay dearly for the privilege, and will need to provide three character references along with details of where the work is to be displayed if at all.
Keep your mitts off my artwork, you may glance at it temporarily, but then must look away after a reasonable time to give others a chance, and prevent visual theft.
Thank you
Thank you...
The pleasure is all mine!
Great channel. Guys, getting a hot gallery is like getting a hot girl. It all depends on how much time you have to dedicate to the pursuit. I feel what goes unsaid is that even if you follow the steps of the indirect method by showing your work with other artists etc the chance that THAT specific gallery never represents you are probably the same as the chance of you being polite and straightforward and confident with a direct approach and getting rejected. If your work is bad no method will get you representation anyways. And if it does it doesn’t mean the work will sell. If it’s good then it doesn’t matter, some gallery will find you some day, you can still shoot your shot with a hot one. You should be doing the indirect method if you’re social and enjoy it anyways but if you really like a gallery then use your charm to seduce them in looking at your work. Just walk in bite the head off a dove and ask for representation like ozzy Osborne would. Just be sure your work is about as good as his music.
Hi Boris, thank you for tuning in and the interesting comment. Yes, when the artist is good, you have of course better chances. And when the art is bad, even via the indirect method you won't get any invitations. However, when cold calling, in most cases they do not have a look at your art-hence the importance of this so-called "breadcrumbs" strategy.
I follow your channel and it's really helpful 🖤
Thanks for the advice..about to submit for a call for artists at a local gallery...it's smart of them to do it this way once a year and they charge $35 for submission. It's not in my favor as an artist though, but I respect their hustle.
Hi there, thank you for tuning in. Wishing you all the best! Also, be aware of art contests and exhibition open calls that almost seem to work as vanity art galleries, cashing in on the artist instead of working towards sales and mutually beneficial income.
@@contemporaryartissue oh thanks so much, yeah even when it's legit which this gallery here in NOLA is, it doesn't feel great to be paying a gallery to simply do their job finding artists. Even though the winners are supposed to have their own show and future representation, you can never know what the true intention is. This is my first time doing this and honestly i don't have the money to do this often. Thanks for the warning.
Great advice. It unfortunately shows a real flaw in the modern artworld. Of course there are great works out there, but i wonder how many great pieces and talents are being lost. Reaching the modern artworld is a skill on itself. So it takes two skills to get there, one that is not remotely related to art. And to thrive on it and expand ones own work there are tools that only investors can provide. The artworld should be like the japanese comic industry, they take everything, if it's good, you're on. I've been having difficulty as my work is too radical. I have some strong views about art that will make my relationships harder for sure. But i'm just beggining, ill follow those advices and try to find my crew, artists that are in a similar vibe, etc. thank you!
Hi Arthur thank you for tuning in and for an interesting comment. I believe you're spot on. That's why it is our mission to prevent artists from making certain mistakes or simply providing information and guidance how the art world works. Wishing you all the best in art (and in your life in general). Go for it!
Just camp outside of a restaurant and wait for your local Warhol to come in, so you can follow him inside and show him your drawings while he waits for his food. Simple as
Hey, If I want to curate my own art show, and a gallery that has a beautiful space how would I go about it?
gold
Thank you so much!
Hey artists, just open your own gallery.
Having an artist-run gallery is possible-but be aware of the risks, costs, and the conflict of being both the artist and the dealer, which is not always appreciated by both collectors and other actors/entities in the art world. Thank you for tuning in and have a great day!
Thank you for all your very insightful videos! One question I have been thinking about is, if I was going to have an art exhibition somewhere, would it be a good or bad idea to send a personal invitation or a flyer to other art galleries informing them of your exhibition?
Hi Karl, thank you for tuning in and a very good question. The response to those emails or invitation is most of very low to none. It can be done but I wouldn't advise it. There are other ways to promote your exhibition for instance via social media or in the press and that way they can indirectly be interested in your show, which is better. On the other hand, you could organize a private viewing before the opening and invite not only other galleries but also curators, collectors, the press, et cetera. Wishing you all the best!
And what do you recommend to post digital artwork? For it no to be copied I mean. I am very recently starting in this world besides de painting and I’m afraid of people copy and paste it. Thatnks for all what you share🎉
i have to admit, as a person with adhd/autism i find the emphasis on socializing and networking to be frustrating. socializing with the goal of furthering my career as an artist feels disingenuous.
Dear Jesse, do not despair! There are numerous ways the get seen without having to be good at networking. Feel free to read our article on how to get discovered as an artist on contemporaryartissue.com Wishing you all the best!
Should we redefine who is consuming artwork? Is it traditional collectors, the new middle-class, or even the younger group? Are these principles you express suitable only for traditional collectors?
What about vanity galleries? I recently was approached by someone who has galleries in Madri, Berlin, New York. They have concrete galleries but require my paying to be hung. I didn't investigate it one i heard it was a vanity gallery but these locations are better than my small village in Spain 😄
Hi there, thank you for tuning in. Yes, we discussed vanity galleries in our extensive video on the art gallery-advising you to avoid them. Instead, we aim to find mutually beneficial collaborations in which the gallery is motivated to make sales. Feel free to watch the video in question later :-) Wishing you all the best!
Another excellent video.
I’d be interested to hear your thoughts on art speak.
Could be an interesting topic to create a new video! But in short, art speak can be immensely overwhelming or for some be even irritating. But I feel it is the result of passionate writing, because I get to it as well when I get carried away writing a press release or essay for an exhibition catalog. But it belongs in my opinion predominantly to writing, and not so much in a dialogue with a peer or friend
@contemporaryartissue I would love to know the name of the artist/s whose work is in the thumbnail. Do you happen to know who painted these?
Hi there, the works look great, right? Sadly, this is a stock image I bought for this thumbnail, so the artist is unknown nor credited. It looks like it could be by Ruprecht von Kauffman? Have a great day!
@@contemporaryartissue Thanks for the reply!
It’s all part of the job
A lot of contemporary galleries boast of hanging distinguished artists who are renown because they have won certain prizes/ competitions or are lecturers at a specific university or are in the know due to some publicity. They often have very little skill and artistic ability but they are packaged well. That's why styles like Minimalism, or Performance artists, some Op artists and Pop artists and Abstract Expressionist and Art Pov. was successful. Much 'high-end' art is the king has no clothes on. Go to the right parties, rub shoulders (or more) with the right people, play the little games and package the approach. Meanwhile artists with fine hand-eye coordinations, exceptional skills with well developed compositions are pursuing other avenues. It's like comparing pop music to classical... the Sex-Pistols to Claude Debussy.
There are still many skilled artists in the high-end contemporary art world; Michaël Borremans, Neo Rauch, Peter Doig, Jenny Saville, etc. But of course if you prefer academic painting over more innovative painting than it is indeed not your cup of tea-but there is plenty for every taste!
@@contemporaryartissue The above given list are artists with drafting skill, and particularlily with figurative work. And like so many paint with a touch of the haunting or surreal, or HUGE to overwhelm the audience. Their work refelects our unstable and lost era. Thanks for the reply and references.
Being an introvert, I cringe whenever I hear advice to “get out there and market myself.” Doing that kind of thing is very unnatural for me.
The shallow and phony, “fake it until you make approach to achieving gallery representation,” can’t be the only way for fine artists or people in general to get along in life. It’s a real struggle in our society and, for fine artists who tend to be or perhaps need to be more socially isolated than other people and, who rely on a gallery system that is so used to be inundated with requests that galleries that spend the effort digging for discoveries are rare. They do exist though, just not enough of them. The two that I have experience with, a small gallery in NYC and a high end gallery in California, are owned and run by people who are really dedicated to fine art. They don’t fill their shows out of the stable of artists they have shown for years, the art in their shows span a very broad range of genres and, the art they show is of a very high quality. Another characteristic these two unrelated galleries have in common is that they do shows for new and/or emerging artists.
It is obvious when you talk to the people involved in these galleries that they love what they do and they love art. One of these galleries is involved in collecting for themselves. Asking if a gallerist collects fine art themself, and what genres they collect, has become an important conversation topic for me. It’s rare that I speak to a gallerist who is believably an avid collector themself.
How can I connect to Germany art gallery ,I need intent letter for artist visa processing, thanks
I'm interested in how to make a gallery remember you. I live in a small town and go to the city once a month, see shows in galleries I think suit my work, and if I'm not working, try and go to their openings, but some of these places I have been attending a few years, and I'm thinking are they EVER going to ask if I maybe am an artist and what's my work like? There's one gallery I've been following ten years, they know I'm an artist by now but never asked my name. It just feels a bit ridiculous?!
Hi there, good question, and thank you for sharing these experiences. A subtle way to make them realize you are an artist is via Instagram. Share their exhibitions in your stories with your artist account, comment, and DM them with the same account, and if they link it is you and realize they have known you for a while now, they will have a brief look at your work on Instagram for sure.
Ah what the heck, here’s my 2 bits. To define success I say we include a degree of fame and high degree of income. To get there one will need to be all consumed by one’s ambition, this will be such an obsession that every activity will be in orbit around this quest. When one devotes all focus and energy results are guaranteed. No stone unturned. Failures, setbacks and criticisms is just the shit we’ve got to shovel out of our stalls so we can put in fresh bedding. Being an artist is a rarity at an order of magnitude greater than the usual occupation. Successful artists are another order of magnitude apart again, to get there requires commensurate investment. I haven’t mentioned talent because it is like a wild card in a hand we’re dealt that can win or lose spectacularly when relied upon.
Thanks so much for this video. I was wondering, I'm currently living and working in Houston, but am considering moving to Romania. Is there a path for introducing myself to a European art market, or Eastern European art market before I move? It's not as though I can currently show up for gallery events and art openings from the USA, but I would love to take steps now to make the transition to an art scene that is really far away.
Hi John, good question. I believe the best way to get in touch with a new art scene as an artist is by getting to know the artists of the art scene first. In Cluj there is the Fabrica de Pensule, a true hotspot of artists. Maybe this could be a great place to start. Good luck!
Everyone in Romania will want to be selling to the high rollers in Houston.
A really helpful video and series.After this series I’ll definitely be one step closer to my goals!
I am happy to hear you find this series insightful. And yes, these specific actions will bring you closer to achieving your goals. Go for it!
This episode was particularly interesting for me as I am going for the indirect or covert networking using Instagram and yes it works if only I had more time to invest Thank you so much merci beaucoup vos videos sont tres bien pensees et faites je m'eduque.
That's great to hear! The pleasure is all mine, thank you for tuning in
Maybe the best way of dealing with the hard labour of your artwork is by selling your work yourself, and having your own gallery. For minorities it is extremely difficult to insert yourself in this established art system.
For every beginning artist is difficult to enter the gallery circuit. However, starting your own gallery or selling your work yourself is much harder than one might think. The galleries take risks, and have the collector's base, the accommodation, the experience, and the expertise one needs to not only sell a few pieces but to grow your career for long-term success.
Its funny how all the famous successful artists did not use these strategies, including Damien Hirst who did not achieve success this way
Damien Hirst is an exception, not the rule. Most successful artists today implement these strategies.
@@contemporaryartissue true, you're right but I think its very limiting
No no no. Here is how you get into any gallery: You hire people to go into a gallery a couple times a week or better every day and ask if the gallery sells your work. Disapointed they spit on the floor and leave. After some time the gallery will contact you and you reply with: "What do you losers want?!"
Instant success. You can mail me money. You are welcome!
Gallery signed up for the job it’s time for them to man up Or go extinct
❤
bit tempted to cold email you guys , since you hate it so much, lol
😂😂😂
Art’s just another guy from Brooklyn 🎭
This is a business, not even close to Real Art, I imagine Vincent van Gogh listening to you!
It's not about the value of the work, it's a market ! this is disgusting
I have been contacted by online only galleries, are these scams?
Not necessarily. However, with these online galleries they do not do many things to actually promote your work, and your works will be featured alongside hundreds of others. So the results are often rather underwhelming. You could do your research about these online galleries, and maybe give one a go just to test things out. But in general, I advise not to work with them because they might scare away actual galleries. The only truly accepted market place for serious artists is Artsy. But the only way to get on Artsy is by working with a serious gallery.
Malevich's "Black Square" put an end to the depiction of reality and laid the foundations for the development of all contemporary art. Before the First World War, Hobbes' ideas reached their limit, as historians say, the spirit of war was simply in the air. 1911 Gioconda is stolen, the French blame the Germans for everything and France is going to declare war on Germany. The feeling of the inevitability of the approaching end was expressed by Malevich with his Black Square. In the future, his ideas will serve as an impetus for Victor Vasarely and the creation of a new style in Op-art art - on the basis of which all computer graphics are built. We are on the verge of discovering a quantum computer, and light plays the main role here,
therefore "Victory over black..."th-cam.com/video/ALW8-tclRHk/w-d-xo.html is inevitable.
Imagine being upset because an artist would like to know how they should go about inquiring how to be considered. Oh so you tell them but that way they will not open the email. Whatever fuck’em. This is one of the rules I say 🖕🏾
When I see this arrogance my only desire is never to enter a gallery any more in my life!
too many artists too few chances
It is true the art world is problematically competitive for artists. Never before have there been so many artists, so it is important to distinguish yourself. Thank you for tuning in!
@@contemporaryartissue its who you know . the odds are stacked against any promising emerging artist. but i like your videos
@@Allenmayesallenmayes It is not only who you know, I believe it is a lot more nuanced, with many introvert artists also being picked up by galleries. Good work will always be rewarded and find recognition in the art world.
@@contemporaryartissue That is wishful thinking.
instead of all that bs time wasting id rather open my own gallery or just sell online, thanks
...look out, we got a rebel.
I do think there's a lot of interesting things in this video and a lot of things that make sense. In general, it's a bit like trying to make sense of something that's not nonsensical in my opinion, like, you're basically saying you just need to disguise your marketing tactics more. Which I think is decent advice and I think there are some good tips in here. However, what is interesting and confusing to me is that there are other views on this by people who also seem to have a lot of connections and experience with this very question. I'll give you one example, I am sure you've probably heard of this person: th-cam.com/users/shortsO1NwzgIkb0c?si=YyEUyvOWx40iTvkk.
And I've read his book and I think he has a lot of good tips as well. But he's basically advocating the opposite of what you're saying. I believe his approach is: why not send out 100 emails and get 6 good responses. Maybe all six will lead to nothing, but what if it's five? Then all of a sudden you have one opportunity you didn't have. I get what everyone here is saying of course. And I'm sure I would be annoyed if I owned the gallery at the number of emails I get. But that's what you signed up for isn't it? You're supposed to be hunting for artists. It's not like getting inundated with calls for plumbing upgrades. It's relevant to what they're doing.
And I I'm just trying to theorize on something that's obviously very difficult. But I don't think it does much good at the beginning to pretend like you don't need help. I get what you're saying about looking weak by asking for shows. but it's also possible, isn't it, that you're gonna stay weak by not experimenting. Not everyone can work and not everyone can go to cities. That's the truth too. I really don't think people who need the help are going to be able to bluff their way into turning networking events into real opportunities. Possible. Who knows. I don't have any idea. Of course I'm not suggesting that sending emails is the only thing you should do. But I just don't see the harm. If they're going to delete it anyway then it doesn't really matter. But in the off chance that you do get a response, it might be worth it.
Hi! amazing Art Tips there but...do you honestly want us *Artists* all to _"cut off our ear"_ like *Van* *Gogh,* with your *Dislexic* Statements?! You started off by saying "don't market yourself" and by the end of your video, you're saying its definetly okay to *market* *yourself.*
Let me tell you how I roll. Whenever I come up with a new Design or Product, or Art Piece (remember, we're Renaissance Artists in todays #inflation #recession times just like *Leonardo* *Da* *Vinci,* Baby), I ram it down people's throats like a *TV* *Infomercial* at 3:25 a.m. There is no shame when you're trying to *make* *rent* in #LosAngeles . _Watch Me Work._
Thank you