What’s a Gallery Exhibition Worth to You?

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What’s it worth to you to get a gallery exhibition of your artwork? Sure, galleries are in business to sell art, earning a commission of between 40 and 60 percent for every sale of work consigned to them contemporary artists, so their profit margin should cover the costs of promoting and advertising exhibits, requiring artists to just pay for the materials they need to make their work. That would make plenty of sense if most or all of the artwork the galleries display actually sold – that doesn’t happen too often, especially in those galleries showing contemporary art by artists who aren’t famous. Those gallery owners also need to pay rent, which ranges from thousands of dollars to tens or thousands of dollars per month, depending on the city and what neighborhood in the city in which they are located. Continue reading

The commission agreement: Some points to remember

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The process of applying and being accepted for a public or private art commission is long and involved but, once it is over, the artist can concentrate totally on his or her artwork, right? Unfortunately, the end of one stage simply means the beginning of another, perhaps not as long in duration but just as – or more – complex. Welcome to the commission agreement. Continue reading

The Need for Good Record Keeping

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The end stages of anyone’s life are likely to be somewhat chaotic. Ailments consume one’s thoughts, strength wanes, memory fades, and the ability to take care of ordinary activities, albeit work or just shopping for food, declines. Those with jobs are apt to retire – the business will go on – and devote the remainder of their lives to a less stressful existence. In 1996, multimedia sculptor Nam June Paik (1932-2006) suffered a stroke that largely curtailed his ability to create new installations, but his career was far from over. Continue reading

Pop Quiz: Some Ethical Questions

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To some artists, having a dealer means that they never again need to concern themselves with the mechanics of selling works to collectors – someone else is in charge of that problem. Other artists, however, find that collectors prefer to buy from them directly, instead of from their dealers, and beat a path to their studios. Frequently, those collectors believe that they can purchase artwork for less money than when a dealer is involved – the price may be halved, these buyers think, because there won’t be a 50 percent gallery commission. Continue reading

Art and the Day Job

For Charley Friedman, a “typical day would be going to the studio and fixing something at a property.” What he does at the studio – sculptural pieces in a conceptual art vein – would be easily understood by most artists, and perhaps so would be the “fixing something” at one of the commercial properties owned by his in-laws in Lincoln, Nebraska. He is a part-time handyman (and occasional sales and rental agent), part-time visiting instructor at the University of Nebraska and part-time artist. If you want to reach him, call his Brooklyn, New York cell phone, because he and his wife keep an apartment there. (You can’t be a New York artist if you don’t have a New York address.) Continue reading

What if your gallery goes bankrupt?

A lot of misfortunes can befall an artist: His studio burns down, her work is stolen, one or more pieces are damaged in transit. Here’s another, the artist’s dealer declares bankruptcy, and the artworks in the dealer’s possession are part of the assets that creditors are claiming. Banks, suppliers and contractors all get in line to assert their right to have their debts paid off first, and artists (and artists’ heirs) who have consigned their work to the dealer have to jockey for position. Will an artist have to cross swords with a bank? Continue reading

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