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

[Черномашенцев Владимир]

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.