Artist Advice “Rock Economics 101” (2004)

Let’s hope you didn’t become an artist so you could get rich. Even the mythological “famous artist” seems to have died with Andy Warhol. So, in the absence of fame and fortune, wouldn’t it be nice to approach the profession with the notion that you might someday make a decent living at it? After more than a quarter of a century as a dealer and curator in the field of visual art, I am continually amazed by the number of artists that have little knowledge of the economics of art.

Surprisingly, even many veteran artists remain hopelessly naïve about the basic business practices of the discipline. This can be attributed in part to the absence of practical information provided to art students by professors who rely almost exclusively on their institutional salaries to survive. Many more artists simply refuse to accept the fact that they are involved in an entrepreneurial enterprise, preferring to focus only on the creative aspects of the endeavor. My hope here is that I can impart useful information that may help readers avoid the frequent impediments that threaten to derail careers, with a focus on stone sculptors, who face unique economic circumstances.

A common fallacy among artists is that gallery affiliation represents a panacea. As a longtime gallery owner and independent art dealer, I am painfully aware that it is a difficult and thankless profession, fraught with financial peril and emotional hardship. Having said that, the economics of the gallery business weigh heavily in favor of the dealer. A typical gallery will represent the work of thirty or more artists. Simple arithmetic indicates that each artist is relegated to one solo exhibit every two or three years. While the dealer may sell a small selection of works each year from the gallery stable, this rarely amounts to anything approaching a sustainable income for the individual artists. The dealer, however, retains a 50% commission from the gallery sales of all of the artists represented, which combined with sales from solo exhibitions, provides a tidy revenue stream. Financially successful artists invariably secure representation in several major cities, with frequent gallery and museum exhibitions – a luxury available to only the most celebrated artists.

The stark reality of the business, however, almost dictates that artists develop a relationship with a gallery. Attempting to establish a reputation without the assistance of a dealer proves daunting for most artists. Successful dealers have the marketing skills required to launch careers and have ready access to curators and collectors. Approaching a gallery is an art unto itself. Most dealers routinely dismiss inquiries by simply stating, “We’re not accepting new artists at this time.” This is generally true, though economics mandate that galleries introduce new artists on a regular basis in order to remain viable.

A handful of galleries will have an established review process – particularly new galleries anxious to recruit artists. A call to the gallery or a visit to their website may specify their procedures. It is highly implausible that this method will result in the establishment of an immediate business relationship. Attempt to familiarize yourself with the gallery’s aesthetic prior to any serious discussion. Try to imagine your work within the context of the art that is regularly exhibited. It’s helpful to establish a personal relationship with the dealer before discussing representation. Attend as many receptions as possible and visit the gallery during regular hours. Try to initiate casual conversation about the gallery’s artists and its exhibitions as it relates to your work. If the opportunity presents itself, invite the dealer for a studio visit. An informal studio tour will allow you to focus attention on your work without distractions. Another common practice is to gain a referral from an artist in the gallery’s stable.

Stone sculpture poses a particular commercial challenge. Most galleries feature a high percentage of paintings, drawings, photographs and prints. Patrons often agonize over the placement of three-dimensional artworks within their collections. The weight and volume of stone pieces cause additional concern for both dealers and potential buyers. Price point presents another obstacle for artists working in stone. The expense of materials, tools and studio space, as well as the labor-intensive nature of the work, often require higher sales prices simply to recoup costs. When you add the 50% sales commission retained by the dealer, stone sculpture quickly becomes cost-prohibitive for many collectors. This can impede a novice artist attempting to establish a patronage.

Getting a commitment from a gallery is no small feat. While the artist population in the Northwest has grown exponentially over the past two decades, the number of galleries has remained relatively stable. And dealing with a gallery is no picnic for artists, either. The deck is stacked against you, and you’re playing a weak hand. Nearly all galleries will present new artists with a standard contract that is both unfavorable and unfair. Some terms of the contract, however, can be negotiated. Suggest that the contract take effect three months prior to your first solo exhibit. Limit the term of the contract to 18 months. I’ve known artists tied to long term contracts that never got a solo show. Specify commission rates (i e. 50% for gallery and direct referral sales, 25% for studio sales, 10% for public commissions, etc.). Negotiate recoupable expenses such as advertising, announcement production, mailing, photography, etc. Some of these expenses are charged to the artist when they should be split or fully assumed by the gallery.  I’ve known many artists that have been presented with bills in excess of sales. Most contracts have an escape clause, but don’t exercise it unless your situation is dire. Don’t cheat your gallery by selling work without informing them. You’ll be caught and blacklisted. In pricing your work, trust the dealer. It‘s in the gallery’s interest to get the maximum price for work, thus increasing their commission. They know their clientele. Don’t assume a solo show will provide a financial windfall. You will be extremely lucky to break even.

While this may paint a bleak picture, before heading over the nearest bridge rail, consider that many of the obstacles confronting stone sculptors in gallery venues can be attributes in the lucrative realm of public art. Most public commissions refrain from purchasing works using experimental media, which require high maintenance budgets, in favor of pieces employing traditional materials that have a history of withstanding the elements and public abuse. The playing field tends to level with these public projects.  The selection process is more transparent, providing an opportunity to gain public broad exposure for your work. By fabricating your own work, rather than contracting it out, you increase your profit margin.

Public commissions are generally available to all “professional artists,” a loosely defined distinction that, in effect, excludes only students. Announcements of these competitions appear on agency websites and trade publications. Be realistic when applying for these commissions. Confine yourself initially to smaller budgeted community projects. Having participated as a peer panelist for several public agencies, following are a few tips that apply to all submittal applications.

Read the guidelines carefully and follow the criteria to the letter. Applications that fail to follow rules are routinely discarded or returned. Don’t assume you can submit your application one day, or even one hour, after the deadline. You can’t. If the application calls for a narrative in the space provided in 10-point type, don’t use 9-point type. Some font styles will allow a few more words in a given space, but you are better served by brevity. Don’t lie on your resume. The art world is small and incestuous. Exaggerations will be spotted. Your resume is used primarily to verify that you can be reasonably expected to complete the project, rather than to impress jurors with your education and exhibition history. As such, don’t hesitate to include professional experience that points to accomplishments in related fields.

Work samples are the most important component of the application. The art world is slow to respond to evolving technology – 35mm color slides remain the standard. It’s worth the expense of hiring a professional photographer. Slides with a yellow or blue cast, (shot with the wrong film), are totally undesirable and should not be included. Confine yourself to one detail view. Make sure to label the slides and compose the script in strict accordance with instructions. Submit work completed within the past two years, or at least label it that way. If the application requests a budget, research expenses meticulously and be specific with each line item. Include a five percent contingency. If the maximum project allowance is, say $10,000, tool your proposal to a slightly smaller and very specific amount – say, $8,925. This method alone will distinguish your application from others, almost all of which will request the maximum. Most applications request an artist’s statement. Many of these statements are grammatically inept. Be brief and descriptive. Use short sentences and everyday language. Avoid the opaque prose associated with postmodern art criticism. It’s acceptable to reference past movements that place your work in historical perspective, but don’t acknowledge specific artists or artworks that have influenced you. And please, don’t use superlatives to describe your work.

A couple of closing thoughts: there are plenty of predators out there eager to exploit desperate artists. Carefully research “contests” that require entry fees to make sure they are legitimate. Avoid any gallery that requires up-front payments of any kind. Self-representation is a viable alternative to gallery affiliation, but it’s far from easy. Independently produced collective exhibitions are a better approach, particularly if some participants have marketing skills. Good luck in fashioning a viable art career. You’ll need it.