Insights On How Galleries Encourage Their Creative People
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A regular reader of the news has likely seen headlines about a Damien Hirst show, a record price fetched for a Jeff Koons sculpture, or a new work of street art by Banksy. And there's some visibility to the touchstones of an artist's trajectory: group and solo shows at galleries, price appreciation and a good proving at auctions, and eventually an look in a museum show or collection.
What's less right away noticeable to the broader world is the function that galleries play, and how a gallery itself becomes established. There are a handful of so-called "mega-dealers" whose names might recognize even to those on the fringes of the art world, Gagosian, Hauser & Wirth, Speed, and David Zwirner among them. However galleries are still the beating heart of the art world, the mechanism through which numerous artists discover their method to organizations, the world's great collections, or simply the houses of individuals who enjoy their work.
Galleries have numerous roles, both noticeable and undetectable: to nurture and support their artists, often by going above and beyond the regular work of placing on shows, promoting their artists, and offering the works; and to offering services such as monetary management or book publishing, in order to help their artists focus more fully on their work.
"There's the important things that you see in our gallery that are in front of the scenes, which are certainly the exhibits, the publications that we make, then there are things that lag the scenes, which could be everything from dealing with an artist on their archives or dealing with research for an exhibit for many years or possibly researching artworks that went through the gallery in regards to secondary market," states Julia Joern, a partner at David Zwirner.
Galleries come in all ages, shapes, and sizes too. Art Basel and UBS's Art Market | 2017 report estimated there were roughly 296,000 dealers and gallery companies in 2016. Just under 40% of them had yearly sales of less than $500,000, while a similar share had sales totaling between $1 million and $10 million. Nearly two thirds of all galleries used 5 or fewer people, and only 4% had 20 or more workers.
No matter size, at the core of a gallery's identity is its "program." The term usually refers to the roster of artists a gallery represents, but can likewise describe a conceptual framework or location of focus that guides that roster, in addition to other activities such as collaborations with other galleries, performances and lectures, or reasonable looks. Most will stress that their primary role is to facilitate their artists' production of great work, in any way they can.
A regular reader of the news has likely seen headlines about a Damien Hirst show, a record price fetched for a Jeff Koons sculpture, or a new work of street art by Banksy. And there's some visibility to the touchstones of an artist's trajectory: group and solo shows at galleries, price appreciation and a good proving at auctions, and eventually an look in a museum show or collection.
What's less right away noticeable to the broader world is the function that galleries play, and how a gallery itself becomes established. There are a handful of so-called "mega-dealers" whose names might recognize even to those on the fringes of the art world, Gagosian, Hauser & Wirth, Speed, and David Zwirner among them. However galleries are still the beating heart of the art world, the mechanism through which numerous artists discover their method to organizations, the world's great collections, or simply the houses of individuals who enjoy their work.
Galleries have numerous roles, both noticeable and undetectable: to nurture and support their artists, often by going above and beyond the regular work of placing on shows, promoting their artists, and offering the works; and to offering services such as monetary management or book publishing, in order to help their artists focus more fully on their work.
"There's the important things that you see in our gallery that are in front of the scenes, which are certainly the exhibits, the publications that we make, then there are things that lag the scenes, which could be everything from dealing with an artist on their archives or dealing with research for an exhibit for many years or possibly researching artworks that went through the gallery in regards to secondary market," states Julia Joern, a partner at David Zwirner.
Galleries come in all ages, shapes, and sizes too. Art Basel and UBS's Art Market | 2017 report estimated there were roughly 296,000 dealers and gallery companies in 2016. Just under 40% of them had yearly sales of less than $500,000, while a similar share had sales totaling between $1 million and $10 million. Nearly two thirds of all galleries used 5 or fewer people, and only 4% had 20 or more workers.
No matter size, at the core of a gallery's identity is its "program." The term usually refers to the roster of artists a gallery represents, but can likewise describe a conceptual framework or location of focus that guides that roster, in addition to other activities such as collaborations with other galleries, performances and lectures, or reasonable looks. Most will stress that their primary role is to facilitate their artists' production of great work, in any way they can.
