Selling Contemporary Art: How to Navigate the Evolving Market
The rise of the art fair
The rise of the mega gallery
New online competition
Models of post-brick-and-mortar art dealing
Art dealers as art fair organizers
Collaboration in a new era
Coverage is also given to the specifics of contracts contemporary art dealers may need, including an examination of a variety of contracts for representation, consignment, and new forms of contemporary art. Exhibiting a wide range of interviews with international experts including dealers, collectors, art-fair directors, journalists, and online art entrepreneurs, Selling Contemporary Art is a must-read for gallery owners, dealers, and artists affected by the rapid innovations in the art-dealing industry.
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a more direct approach to that practice. In the years that followed, this more blatant branding of artists over artworks, combined with an emphasis on expanding the power and even real estate of the conglomerate, would impact nearly every aspect of the contemporary art market, including how feasible it remained to run a gallery in what has become known as “The Leo Castelli Model.” In a nutshell, Mr. Castelli’s model was to discover the best artists he could, nurture their careers, carefully
same factors apply in reverse. I began by explaining how hard it was to locate a space I could rent, and then listed ten things I learned about producing pop-ups: Originally, I tromped all around Soho and the Lower East Side for weeks, calling all the numbers on vacant buildings, but rarely getting anything even approaching a considerate response. Determined, though, I called the landlord of my apartment building (also in Soho), which happened to have two commercial storefronts on the ground
contract between participating galleries and the fair organization that is easy to customize for any fair you may launch. Finally, in Chapter 14 we look at client approval agreements and invoices, two agreements with collectors that (with any luck) dealers may need to reconsider in the context of the evolving market. Those are a few of the reasons that contracts keep coming up. But perhaps the real question at this point should be: why are they not completely common already? (Here it should be
and a few minor works from the studio each year for a number of years, to help them recoup their investment and keep face with their collectors who had been counting on their carefully built relationship with the first gallery to secure them an acquisition. Many of the dealers that I have discussed this idea with initially insist it is unworkable, because there is nothing motivating the galleries able to poach an artist to agree to it. Even should gallery associations add such a practice to
For art dealers whose galleries fall more within the “mom & pop shop” category or simply those whose success relies more on the personal relationship between the business’s primary owner (as opposed to a team of sales directors) and their most loyal collectors, though, there are some specific challenges brought about by globalization that transcend the obvious limitations of resources. Indeed, Olav Vethius concluded there are some potential risks for the entire gallery system here: [T]he