How to work an artist with a gallery and a gallery to work with an artist?
 

How to work an artist with a gallery and a gallery to work with an artist?
Ladies and gentlemen! The various themes of our (pozvodyu myself so to speak) forum in any way, as these issues arise. Perfect system does not exist. Every man and every structure, in varying degrees, and certain periods of time, feels the crisis.
Periodically want fresh "blood", new look, a bold non-standard solution.
Indeed, why, often, the artist can not find "his" gallery, a gallery - the artist? Eight years of experience allows me to make some conclusions. However, questions arise and more.
Let's share ...

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Dear Administration! I do not understand how (kettle), but accidentally created two identical threads. Kindly ask them to join. I tried to erase one, but I do not know whether you have received ...

How to work with your artist gallery or let us say with the gallery "Praha" in Prague? Gallery will always turn the artist in his advantage, giving him different, sometimes absurd, conditions of work. Let's talk about the conditions? : confused:

But then this is not the gallery, just rooms where people expose the product of his labor (no referral, advertising, stock, etc.) In this case deals with an artist himself, and not about any of gallery work can not speak ...
 
You know, do not sovsemi artists too pleasant to communicate. And if the gallery is engaged by the artist and his work (and its level of its suits), while personal relationships fade into the background. Copies also falls, I tell you ... And who said that it would be easy!

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You know, I do not understand what it means to twist in opposite directions. work with the artist on vzaitovygodnyh conditions and any imbalance leads to a breakdown in the relationship. Often artists are trying to dictate terms. Gallery did not complain about it. Simple misunderstandings are often found in the fact that the gallery for his work, too, should be rewarded. And not all artists understand this.
And the terms of cooperation are simple - I've written about them. If the level of the artist consistent with the general level of the gallery, a gallery - the artist's request, then, as a rule, cooperation is obtained.

Life is too short to waste it on unworthy communion.
(I understand) But I will not (MGE Buskadora quite enough, although I do not get angry, but do not intend to repeat the experience) .. Tyschi galleries everywhere, no place dye ...

I think I can serve as an arbitrator in the dispute, art dealers and artists, because they do not belong neither to one nor the other.

I buy paintings in galleries, who found a common language, and directly from artists. I can say a lot of good /bad things about both.
Indeed, the approach VITA NOVA similar to the approach to the Pick-up Artist of office space - this is not art gallery with his close circle of artists and admirers.
The artist is not easy to find your gallery, where he was understood and treated kindly, the artist is not easy to understand the benefits of mutually profitable. In order to gallery invested their time and money in the promotion of the artist, the tube very tough conditions. No one will pull the chestnuts out of fire for that guy. These conditions are almost impossible to implement in Russia and the former Soviet Union because of the underdevelopment of the habits of legality and the reluctance of suing.

I am sure that in the West every talented amateur painter, to get started with the galleries, usually some signs exclusive contract. This applies not only to artists - all, including actors and musicians. At some time devoting themselves to the "bondage", in response to receiving recognition. God forbid, an artist peremetnetsya in another gallery, violating the conditions of the contract. Yes its there and will not accept, concerned about potential judicial risks.

I have noticed that many artists a complete misunderstanding of a simple financial gain. They will talk about the high cost of canvas and paint, forgetting about the high cost of money.

  Example: the presence of a large collection Nalbandian in the gallery Leonid Shishkin clearly increased the popularity of the average Soviet artist. And they can safely work, no matter how rude it sounds, without creating a large surplus value for the foreign galleries.

You извените me. I asked this theme is not for recrimination, but to ensure that views of other find a rational .. Maybe someone is would help too.
And it is absolutely not for recrimination and to ascertain the relationship (I do not know that you are there with the Buskadorom to find out).
Everyone knows that is not the place makes the man. However, in every country there are galleries, which tend to get artists, because it is already a certain level of artistic value and market value ...
It's like the actors getting into the picture may become a famous director's motion to fame ...

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Ungrateful thing - to be the arbiter for both sides. You know how in one of history: two drunken men fighting, police came to parted. Sober, stoned police and further sort things out ...: D

Would agree.

It is necessary to formulate a simpler - I just have my mind from the outside.

I would like to clarify that the exclusive, which is widely practiced in the years 1960-80, has now become a rare exception, at least in Europe. Not so long ago we talked with Faride Kado, one of the most famous galeristok Paris, which also was a gallery in New York, and she recalled with nostalgia is a golden time:)

It should also be noted that exclusives artist was obliged to put a certain amount of work per month, but he was guaranteed a regular wage. Perhaps this explains the disappearance of such a formula - used by gallerists had the means, and they themselves were willing to waste water (such gallery owners, like Manuel Schmid and Benoit Sapir still sell the work bought by their fathers), but now neither the money nor the desire to "replenish bins, they do not, and the ephemeral nature of fashion in contemporary art to this does not have.

Pity. This allows the artist to work without worrying about side issues.

And the attitude of the gallery to "own" the artist would have been more warm and tidy.
  If an artist is "free" - then why gallery invest money into it, groomed and pampered?

It is logical to think so: "If the commodity is sold, then we will sell, if you stood up, then immediately free the warehouses [wall] for a new product." Appears clean business and relations "producer-dealer."

I have long worked this way (more precisely, about three years). Of course, this crisis has made some corrections, but I continue to work with some of the case. In my practice, the artists do not stand up and try after some time (when the ads began to operate, the catalog is made, a personal exhibition held ...) to dictate new terms. Time, as a rule, puts all their places. It is a pity missed ...

Agree. I tried to work both with some very interesting artists to me, offering to redeem all the work "not looking" to specified conditions. Naturally, only those whose work fell well enough in my tastes. Without limiting the artist in anything, not dictating terms and themes for the paintings. Calculation of the fact that it is impossible to guess what the picture will be better or worse. A statistical sampling of works from the relatively low price for the successful work of slaughter loss on forced purchase failed.

Prices are determined at the normal prices of the same artist, without special discounts, as he delivers on sale in the gallery. Persistently carry out all financial arrangements, despite the crisis and so on. It takes a year, and you start to notice that you have a "second grade", and the number of creations diminished significantly against the promise. And after the expiration of the contract "cool down", since more tightly and with a choice to buy the same artist.

Correct! I would have called the theme looks more like - "How to work with the artist's gallery! Since distortions are more often by the artist, then changed his place of residence, then took to drink or anything else.
Of course the most convenient to the artist when he buy a large amount of work, he gladly agrees to make concessions and discounts around the corner with pride about all broadcasts. Remaining moments are very slippery and tend to go downward.

There, in the second part of the topic, I think it is.
And problems can create as one and the other side. And it is not unfortunate, in most cases (if not all) it depends on money. The artist wants it all today and now (money, fame, auctions, rank ....), a gallery, of course, too, is interested in the rapid growth rates of the artist, but the constraint is notorious contractual relationship. And there is a certain logic - one dealer was engaged in "promotion", invested (and not just finance) in the artist, but when "the process has begun," came another, and offers more favorable conditions (the possibility of more ...).
While you can say - such is life ... But, "to cut weight, do not feel like, if zolotishko already in other hands ...
In general, this topic is probably the most relevant for the promotion and development of modern (not in the sense of "contemporary", but in the sense of - "made" our contemporaries) art. And the theory of writing myself - he sell it from despair, from the creation of handicrafts, when the fairs went and sold their products.
And here, I would like to bring a little analogy:
Dealer - artist, agent - an athlete, the theater director - artistic director (here, in the sense that one is also engaged in marketing and management, and the other - creativity )....

I think that the Internet significantly changes the position of the artist in the art market. Can pursue the most markentigovuyu campaign, which he considers necessary to the author himself. I met many artists, especially in large cities, which are deliberately not cooperating with the galleries. Live from the exhibition to exhibition, produce catalogs. I wonder if the artist will continue in such a way to build your marketing, if it helps him in the future?
 
Although I also believe that without the status of galleries do not. For example in many exhibitions independent part of the artist is impossible. It can exhibit their work only on behalf of the gallery. In addition, the gallery shall issue certificates to the buyer with prices, that gives the artist an assessment of his work, even if it is not sold at auction.

I can not understand how you can make it a show, if not to cooperate with galleries?

This can be done only in the exhibition altogether unsuitable places, though they are very loud voice called. For example, "Exhibition at the State Duma of Russia" or "Horse Rada of Ukraine. But there is not enough people willing to look at the picture - for them will be that the wallpaper, that picture. Can be displayed in shopping malls - if an artist paints a "commodity" for sale mass audience, per residential designers and their clients-glamorous clients.

Serious or complicated for mass taste, the artist exhibited in a place hardly sees fit.

I would venture corrected your sentence: "Many people do not cooperate with a tubes, producing catalogs." How do you think?