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A recent online discussion regarding gallery contracts reminded me that this is something I should have posted awhile back. There are surprisingly a lot of artists that avoid showing with galleries for fear of the contract. In actuality, the contract is what keeps you protected and prevents anyone from running off with your money. In fact, if there is a gallery you are interested in working with that does not “do contracts,” you should either make your own for them to sign or else leave. It’s wise for both parties to have a legally binding document that ensures that everyone involved is covered. Art is money, so when you’re handing over your work to a gallery, you’re essentially handing them hundreds to thousands of dollars and hoping they’ll take care of it for you. With that said, here is a list of most (I may be forgetting some things…) of the issues that should be covered in your contract. Most of these pertain to a gallery that is representing you, but much of this applies to short-term gallery exhibitions as well.
Commission: The standard here is 50/50, but can vary depending on your location. This absolutely must be covered in any contract with any gallery, no matter if they represent you or not since this is what determines exactly how much you receive from the sale of your work. And on a side note, it is perfectly fair for a gallery to get half of the sale since they are the ones that have to pay for your exhibition, advertising, rent and utilities for the building, catering, etc. If a gallery isn’t doing this for you, then they are not earning their share, which in that case, I would recommend going elsewhere.
Payment: Another must. When will payment be made? Some galleries may wait until the end of an exhibit to send you your check, while others may pay you immediately. Sometimes this is determined by how the customer paid, especially if they are on an installment plan. Usually to cover all bases, contracts will state that payment is made within 30 days from the end of an exhibition. Just so long as it clearly states that you are going to get paid within a reasonable period of time, then it should be fine.
Insurance: This is another must in my book, however, I have seen some great spaces not offer insurance, so I can’t say that I haven’t taken a risk at times myself. However, you should be seeking out galleries that provide insurance while your work is on their premises, especially if they are representing you. If your work is there long-term, odds are greater that something may happen- fire, theft, etc. You can look into getting your own insurance coverage, but it won’t be cheap, so you may be better off leaving it up to the gallery.
Framing: Frames are not generally required for all artwork, but this should be laid out in the contract. If frames are required, it needs to be clearly stated who covers this cost and what type of work- drawings, paintings, printmaking, etc. or just certain types of work?
Discounts: It is not uncommon for a gallery to offer discounts to their regulars or for a purchase of multiples. This practice is normally only done in representing galleries as they are the ones with a particular roster of artists that they deal with on a regular basis. Discounts can range from 10 to 20%. The contract should clearly cover what the discount is or what the range may be and how it is divided- evenly between the gallery and artist or does the gallery take that out of their cut entirely?
Shipping: For those that are out of the area or state, shipping costs need to be covered as this can be very costly. Shipping policies vary among galleries, so I can’t say that there really is a standard here other than that if it is a short-term exhibition in a non-representing gallery, typically the artist pays for shipping their work to and from the gallery. For a representing gallery, the artist may be responsible for to and from shipping, or only shipping the work to the gallery, or the gallery may cover all shipping costs. As far as shipping the work to a client, the gallery will either pay or the client will, not the artist.
Outside Sales: This could be a post in and of itself given the discussions with other artists. The gallery that you work with may allow you to sell work on your own through festivals, studio, etc. and I have yet to see a gallery that doesn’t. First, be sure that your work is priced consistently with that of the gallery. Typically if a sale is made to a client from the gallery, then the gallery will get a commission, usually their standard rate. However, if the client is someone not affiliated with the gallery and did not see your work via the gallery, then the gallery may only require 20 or 30% or often times, there is no commission. Point being, if you had to do all the leg-work to get that client, then you would get the entire amount of the sale, but again, that would apply to people unaware of the gallery. This should be covered in your contract, including the commission rate, if any.
Exclusivity: Typically galleries only require exclusivity to the city they are in. However, some require exclusivity to the region, state, and even the entire nation (though these are generally “blue-chip” galleries dealing with work that goes for hundreds of thousands to millions of dollars). Again, this is another issue that should be clearly spelled out in your contract.
Loaning Work: This is usually only an issue for those represented by more than one gallery or those that enter work to juried shows in which the same work is already in a gallery. If work needs to go from one show to another, the gallery that currently represents that work may require a commission if that work sells in another gallery. Both galleries would get a commission, for example, each gallery may get 30% while the artist gets 40%. This rate varies among galleries, though, and should be clearly stated.
Length of Contract: Most contracts remain active so long as the artist is with the gallery. Generally there is an “out” for each party with a 30-days prior notice, again, this may vary, but 30 days is usually all that is required. In the event that the relationship is not working, either party has the option to end it.
Exhibitions: This only pertains to representing galleries in which your work is there long-term. What type of exhibitions will the gallery guarantee and how often? Will you have the opportunity to have a solo exhibition and will you also be given group exhibition opportunities? Where will your work be when it’s not being exhibited- typically galleries have a salon in which a mix of works by the gallery’s artists are featured in the back room or even in their project space.
Most importantly, take your time and look over your contract before signing. There’s nothing wrong with asking to have a day or two to look it over. You could even run it by someone you trust just to make sure there’s nothing you’re missing. As I said, if a gallery doesn’t have a contract, tell them you would like to make your own and be sure to cover all of these aspects mentioned. If you’re uncomfortable telling a gallery you want to make a contract, just put it in benign terms such as that it’s how you keep track of things, or that you might forget (not that you want to appear stupid to these people but put it off on yourself if you need a cover). If you feel any amendments need to be made, write it up and send a proposal to the gallery. More than likely they will oblige and add it to your contract. Above all else, if you are not comfortable with the arrangements, do not sign and look somewhere else. There are plenty of other fish in the sea.
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With two group shows less than a week apart, another in the next month, and a solo show only 7 months away, a lot of pe0ple think I’m really busy. Or uber-busy. It seems normal to me, though, especially if I want to maintain a career as an artist. So this has me thinking that this must not be the norm, which is unfortunate because I like to think that artists are all showing their work somewhere other than their basement. So I have to ask- are you doing all that you can to promote your work? Or do you not know where to start? For those that are beginners, I thought I’d take this opportunity to discuss how to exhibit your art. And maybe even those of you who are not new to this will pick up some ideas.
First, I like to ignore all the “rules” regarding getting into galleries. So many people say you should start small and local. Yes, there is some truth to this, but don’t sell yourself short. Some of my very first exhibitions were out of my city and out of my state, so there goes that rule. Secondly, there are a lot of people that say you shouldn’t even approach a gallery, that you should just let them call you. What?? If I want something, I don’t just sit on my couch and will it to me. I go out and get it. Now, don’t get me wrong, that doesn’t mean you can just march into a gallery and dump your portfolio in their lap. You should send them your work in a professional manner- read my steps for doing this in a previous post.
Galleries like to know that you are going to be reliable and not flake out if they book a show with you for several months/years in advance, hence the need for a good resume. So you’ll need to build your exhibition history. But how do you get an exhibit if you have never exhibited before? I know- it’s like which came first, the chicken or the egg. This is where starting small and local comes in since you’re more likely to get into a gallery that knows you personally through local events, plus if they are not solely looking for established artists, you’ll have a better chance. That said, don’t limit yourself, either. There’s no harm in trying to get shows elsewhere- especially group exhibitions since galleries know that if you drop out, it won’t be so hard to replace you or make up for it.
In addition to galleries, there are other ways to exhibit your work. I’d recommend this whether you need to build your exhibition history or even if you’ve done hundreds of shows. You can never reach enough people.
University galleries and museums– great to have on your resume, but won’t result in sales necessarily because the general public doesn’t think to go there to buy art. That’s just the perception they have. However, these venues are very prestigious and build your credibility among collectors and galleries. You will need a few shows under your belt to score one of these, but just to say, this is something you should be aiming for.
Local museums– more likely to show your work these days due to the economic crisis. Their funding has been limited since the government loves to cut arts funding first, so they can’t afford to ship work and give stipends to national/international artists. So get to know your local museum and send them a proposal.
Juried exhibitions– Now there is a lot of debate over these types of shows since some think they lead to nothing, while others think you should never pass an opportunity to exhibit. If you are completely new to exhibiting your work, I say go with the latter. When you’re starting out, you won’t discriminate so much- there’s plenty of time to do that later once you’ve been showing a lot. If you’ve built a bit of an exhibition history, that’s a different story. Personally, I will do juried exhibits, but that’s only if I feel they are worthwhile. I decide based on:
Where the show is being held– is it a good venue or is it some cube in the middle of nowhere?
Who is the juror– someone prestigious in the art world or just somebody’s grandma that took a watercolor class once?
Is the venue insured? Nevermind whether your own work is insured, if the venue itself can’t afford insurance, then it’s probably not a good one (sorry).
What city/state/country is the venue located– again, don’t go with someplace not typically known for art.
Is it a vanity gallery? There are a few of those out there holding juried shows- make sure the gallery has a good reputation.
Lastly, look into exhibition opportunities that are off the beaten path.
Pop-up galleries are the latest “it” spaces and do not require representation, so you are more likely to get into one. Also, if you are just starting out, look into showing at coffee shops, bookstores, libraries, bank lobbies, doctors’ offices, law firms, gift shops, restaurants, etc. Although food and smoke near your work is a scary concept, so just consider that risk, but look into making your own exhibits through these venues. Not all will lead to sales, which is why many don’t bother, but it will build your name in the community, build your exhibition history (until you can gain more via galleries, etc.), and it can lead to future sales since people will see your work and talk about it with others well after your show. Each step builds upon the other. It all takes time- Rome wasn’t built in a day.
I’m sure I’m forgetting some things, so if you have ideas for opportunities to share, please feel free to add them in the comments section.
This Saturday, January 8th, is the first artwalk of 2011! If you live or will be in Lafayette, Louisiana, this weekend, be sure to stop by all the galleries and business downtown that are featuring new exhibits. This is a free (and popular!) event for a fun evening out. Starts at 6pm- 8pm (ish) in downtown Lafayette. The schedule is:
Acadiana Center for the Arts– 101 W. Vermilion St. / 337-233-7060
Main Gallery: Domains, Parameters and Wanderings– Anastasia Pelias, Jennifer Odem, Christina Mcfee, Allan Jones, Colleen Ho, Chyrl Savoy
Side Gallery: The Mississippi Delta: Images from a Blues Pilgrimage by Scott Ainslie
Vault Series: Candice Alexander
Cajun Spice– 535 Jefferson St / 337-232-3061
Works by Kim Parker and Tina Thibodaux
Galerie Eclaireuse– 535 ½ Jefferson St. / 337-234-5492
Jon Schooler
Gallery 549– 549 Jefferson St. / 337-593-0796
Donald LeBlanc solo exhibition
Gallery R (at The Russo Group)- 116 E. Congress St. / 337-769-1530
Works by Ryan Benoit
St. Pierre’s Center for the Arts– 114 W. Vermilion St. / 337-236-9111
Jason Copes
Sorry I was late to post this… it’s been a busy week, to say the least. Tonight is the October 2nd Saturday Artwalk in downtown Lafayette, LA! The event is free and starts at 6pm (lasts until 8-ish). Galleries and businesses downtown have some exciting new openings tonight:
Acadiana Center for the Arts– 101 W. Vermilion St. / 337-233-7060
Main Gallery: October 9 – December 18, 2010- Tom Secrest: Realm of Subconscious
Side Gallery: October 9 – November 5, 2010- Nervous Energy- Curated by Stephanie Patton
Vault Series: October 9-December 11, 2010- Michelle Fontenot
Cajun Spice– 535 Jefferson St / 337-232-3061- Liz Gold and Debbie Denison
Galerie Eclaireuse– 535 ½ Jefferson St. / 337-234-5492- Early works of Tom Secrest
Gallery 549– 549 Jefferson St. / 337-593-0796- In honor of Breast Cancer Awareness month, Gallery 549 is asking Artwalk attendees to sign or draw on the paper-covered walls of the gallery to recognize those that are fighting breast cancer. Anyone wishing to donate to local breast cancer foundations will have the opportunity to do so through the gallery.
Gallery R (at The Russo Group)- 116 E. Congress St. / 337-769-1530- Jeff Lush
Pottery Alley– 205 ½ W. Vermilion St. / 337-267-4453- Natures Serenade– Unique sculptures, thrown pieces, hand built vessels
Whoojoo Stained Glass– 532 Jefferson St. / 337-269-9310- Open Studio
Time has flown by so quickly, I almost forgot to post this month’s Artwalk schedule. Second Saturday Artwalk in downtown Lafayette, LA starts this weekend- June 12th. Some galleries are open as of 5 (though I think the official start time is 6pm) and will remain open until 8pm. And this is a free event!
Acadiana Center for the Arts– 101 W. Vermilion St. / 337-233-7060
Main Gallery: Through July 24, 2010- Southern Open 2010
Side Gallery: June 12 – July 2, 2010- Kent Hutslar Memorial
Vault Series: Through July 24, 2010- Pat Juneau
Cajun Spice– 535 Jefferson St / 337-232-3061
Anne Bulliard Crownover Glasswork & Mosaics
Cité des Arts– 109 Vine St. / 337-291-1122
West Coast Feelings Collection: Los Angeles to Lafayette 2010 works by DGeyrald
Galerie Eclaireuse– 535 Jefferson St. / 337-234-5492
Paintings by Steve Schneider, Dennis Sipiorski and Ruth Sipiorski
Gallery 549– 549 Jefferson St. / 337-593-0796
Frederic O. Daspit- New Sculpture
Gallery R (at The Russo Group)- 116 E. Congress St. / 337-769-1530
Lynn Eustace Sanders- “Collaborative Color”
Pottery Alley– 205 W. Vermilion St. / 337-267-4453
“The Spirit of Haiti”– steel drum art by Carlo Brutus
Sans Souci Gallery– 219 E. Vermilion St. / 337-266-7999
“Drawn to the Stage”- A Collection of Drawings by Elemore Morgan, Jr.
*Not part of Lafayette Artwalk, but as a reminder, I am currently showing in Columbia, LA at the Schepis Museum. My exhibit, “New Realm,” is up now through June 30th. Admission is free and the museum is open Tuesday through Saturday from 9-5pm. View photos from the opening at www.AmyGuidry.com
Okay, that may be misleading since this is not the second edition, but a second time around for this class. For those of you who are not familiar with my Art Marketing class from last fall, this is your opportunity to to take part. As part of Frederick l’Ecole des Arts in Arnaudville, LA, I will be teaching another Art Marketing and Self-Promotion course. The first class was quite a success and a great, interactive opportunity to get together with aritists and gallery owners. In addition to my course outline, we had a group session covering individual questions and sharing ideas.
So if you missed out the first time, or are new to this blog and will be in the area, please sign up for Art Marketing and Self-Promotion. The class will be May 2nd (a Saturday) from 10AM-12Noon. Of course we did stay late last time because people had lots of questions and ideas to share, but if you need to leave at noon, feel free to do so.
To give you an idea of what the class is about, here is a general course outline. Overview: Risk assessment; getting out of your comfort zone. Changing your mindset. Goal-setting. Portfolio Development. Gallery submissions and approaching galleries. Alternative exhibition opportunities and juried shows. Marketing Materials. Pricing. Sales. Some of the additional topics discussed included shipping work, Ebay, vanity galleries (just stay away- that’s a free tip you can get from me right now!), and what else, but blogging, of course.
Some of these are very basic principles, and some of it boils down to good old-fashioned common sense, but for many artists, their expertise is in their medium and not in marketing. Unfortunately marketing is not a course requirement when getting your art degree, and quite frankly, it’s just plain scary to people (not just artists!). In addition, to succeed at ANYthing requires goals, planning, and organization. All skills that most people don’t think of or skip when trying to succeed at anything. How many people do you know who blame things on bad luck or lack of luck? Or think the only way they can do what they truly love is if they “win the lottery?” I can think of many.
Okay, ready to sign up yet? Go to http://frederickarts.homestead.com/Classes.html to register for Art Marketing and Self-Promotion. Sign up early to ensure your spot in the class. And it doesn’t matter if you are in high school and planning on your future career as an artist or if you’ve been an artist all your life. If you want to improve your marketing skills, ask questions, or take your career to the next level, this is your opportunity. And meet some great people, too!