At that living contemporary artists

[Pavel]

Сообщение от Vladimir

What terrible things you are telling. This is a common practice?

This is a constant practice. There are artists who have always, there are those who walk the exhibition, but what is the choice of exhibitions, preparation of the exhibition. Can something stuck out or something to level. If some of the bright-colored hang up, then nothing will be visible. One can take 3.4 work with the rest of one wearing a dark, hang side by side, all of whom will notice? "So much for the academician. I offered to take in all the work and hang in alphabetical order. Maybe I'm wrong, but the public loses interest in the gray monotony of the exhibitions. They, too, should be interesting. They want themselves to judge and choose.

[Семен Семенович]

Сообщение от Pavel

I offered to take all the work and hang in alphabetical order.

Paul! It's a new form of exposure. I think it's like that just do not make the exposure, but they are unlikely to hang on as they become available, or entrust exhibiting the first comer ...

[Pavel]

Сообщение от Semen Semenovich

Paul! It's a new form of exposure. I think it's like that just do not make the exposure, but they are unlikely to hang on as they become available, or entrust exhibiting the first comer ...

It's like a proposal. It should also interest the audience. Look at the exhibition with Malevich, where each artist separately. And in general, every artist should be responsible for their creativity, rather than hiding behind the exhibit.

Added after 3 minutes

Сообщение от Berth

Trade paints something different from trade shoes? That's news to me .

90%of the artists whose work I sell live exclusively with sales of his paintings.
the remaining 10%- DPIshniki - taught in the art and architecture academy batik, tapestry, machinery enamels, one art book

As long as we know from all three men and then all smeared and scraps of bronze from afar.

[Причал]

Сообщение от Pavel

While we know from all three men and then all smeared with bronze and scraps from afar.

Well, they are about you and do not know anything.
And do not think so. ever know.

[Pavel]

Сообщение от Berth

Well, they are about you and do not know anything.
And do not think so. ever know.

Of course! But it is unclear when you're talking about 90%of the artists you have in mind these 4?
 Here for LSR, I think opened OtelDruo and French art. She was interested Vollarom. Maybe for you that the je opens in Sverdlovsk?

[Кирилл Сызранский]

Сообщение от Pavel

As long as we know from all three men

Who is "we"?

[Семен Семенович]

Сообщение от Pavel

Yes, and in general every artist should be responsible for their creativity, rather than hiding behind the exhibition.

I still want to say that the making of the exhibition - is also creative and very hard work. To a large extent on the correctness of the display of a work depends on its success of the exposition ... It seems to me little things and in our case can not be. Wrong selection of frame, bad light, bad camera angle ... It all does not affect the quality of work (where all the power of the artist), but the effect on its success at the exhibition. And not always the artist sees these things better galereista (said so as not to offend the artist) ...
Therefore, the artist responsible for their creativity, and galereist - for their ...

[Семен Семенович]

Сообщение от Pavel

But for gallerist vsetaki, I think, should be important to create a name, but not that all the work looked equally good.

For the curator, it is important that the exhibition was successful. And a name of one exhibition possible. Exhibition - svoiobrazny creative outcome. Relationships of the artist and curator as well. And that show went well, everything is important: predvystavochnye sales, advertising, adequate pool of invitees, exposure to all work looked ... So I myself controlling the exposure and 80 percent think it is a matter of galleries. Certainly, the artist has the right to certain requirements in exhibiting their works, but it is the work of gallery owner. After all, his task to approximate the artist's work to the needs of the buyer. And this information, excuse me, the artist does not own. And it is the best. Everyone must do his own thing ...

[L-ana64110]

From my personal experience I would say that to promote the artist's better to arrange personalku \\ sorry for gallery owners do not like or is not fashionable now, \\
Well and in full volume you can see all the interesting findings is clearly seen in nature and attitude of the artist - a more subtle dialogue turns with the audience. I personalki always come out successful in terms of sales. True to turn out to personalku \\ Serious personalku \\ need 2-3 years, aiming to work and not particularly shine, but a good result.

[Причал]

Сообщение от L-ana64110

From my personal experience I would say that to promote the artist's better to arrange personalku \\ sorry for gallery owners do not like or is not fashionable now, \\

And this love-dislike?
Often gallery just have to take the assortment. One watermelon, and another pig cartilage.
In terms of minimizing labor costs gallerist - personalku do much more convenient for him.
If an artist is ready to pay the full room in the amount of the average income in proportion to the periods of the gallery exhibition - a rare gallery refuse. Unless, of course corresponds to the level of the artist's gallery.
But always do personalki impossible - because that 2-3 consecutive "not on" major clients and customers drop out of this gallery. However, I must think about all-established clients.

All this, of course, for small and medium-sized galleries.
Large usually lead diverse activities. In one hall - personalki in another - the collective thematic, in the third - a sort of salon (salon - it is such a thing when there is no permanent exhibition, there is constant rotation, dense hanging, and not a dirty word that many artists used in a pejorative sense) ...

There are of course very good picture, which can afford to do a lot personalok. But it will be exhibitions by artists first, rarely the second magnitude.