Business Cards in Galleries?

Leslie Ficcaglia · 03-21-2004, 09:12 PM

A local gallery which offers opportunities for exposure has just adopted a new policy wherein the artist is expected to offer the usual percentage to the gallery if a client buys a piece of art from them because of having seen it in that gallery within sixty days of the close of the exhibit. Furthermore business cards and/or contact information are not allowed to be on display during the show. I can understand this policy when it comes to completed art works being offered for sale, but portraits seem to be in a different category. The client often doesn't decide to act on his decision to commission the painting until months after he first sees the artist's work, and if he has no business card he's not going to be able to contact him or her. Is this a common prohibition in galleries, and if so, doesn't it create problems for the portrait artist?

Kimberly Dow · 03-21-2004, 11:32 PM

I do not know about other galleries, but the ones I am in use a trust policy. They hand out my card and write their name on the back. I make a point when someone calls to find out where they heard of me and if it is one of my galleries then I let them know as soon as a contract is signed. The galleries I am in ask for 30% commission if they saw my work at their place. That is fair as far as I am concerned.

I used to be in one that wanted to handle all the details and it got real confusinig because there is always a middle man and it seems to put people off when they want to describe what they want for a painting. It takes face to face or phone conversations to really understand and people seem to give up long before that if they go through someone.

Leslie Ficcaglia · 03-22-2004, 12:38 AM

Kim, what kind of services do you get for the 30% commission? Do these galleries actively promote your work or are they just offering a venue for exposure?

Marvin Mattelson · 03-22-2004, 01:23 AM

Leslie, it sounds to me as though are under the assumption that gallery owners and reps place the best interest of the artists they represent, first and foremost their minds. Although there are some who do concern themselves with our well being they are, according to my personal experience, in the minority. Any artist who manages to have a reciprocal relationship with their representative is blessed indeed.

Leslie Ficcaglia · 03-22-2004, 09:19 AM

Quote:

Originally Posted by Marvin Mattelson

Leslie, it sounds to me as though are under the assumption that gallery owners and reps place the best interest of the artists they represent, first and foremost their minds. Although there are some who do concern themselves with our well being they are, according to my personal experience, in the minority. Any artist who manages to have a reciprocal relationship with their representative is blessed indeed.

Marvin, personally I have no assumptions, having had no contact with the creatures myself beyond the experience of founding a gallery, which is the one I'm speaking of now. It's gone along on its own merry way, though, and the new board has new ideas. I'm just wondering how their new policies dovetail with the needs of a portrait artist, which are somewhat different from those of a landscape, still-life or abstract painter. Others have suggested that the hoops are justified because of the marketing the gallery does for its artists, but you're saying that's not the case. So what's the point of the commission they take and the restrictions they place?

If people on this forum thought they made sense and had ideas about how they could work for a portrait artist, I'd reconsider showing there. Or if the consensus seemed to be that they were inappropriate for our profession I'd share those opinions with the exhibition committee. As it is I've declined an opportunity for exposure there (three or four paintings on the gallery's artist member's wall, with no PR involved) because I don't care for the new restrictions. If they were going to be promoting me, maybe I would feel differently.

Do you ever show in a gallery, Marvin, and if so, under what conditions?

Kimberly Dow · 03-22-2004, 10:14 AM

Leslie,

I have been in some wonderful galleries with high sales back when I lived in NH, but they closed down. Now I am a couple smaller ones so I do not expect much.

I am thinking specifically of one that has one of my portraits up. They have my cards displayed there and save brochures for those that appear truly interested. Thye mention me occasionally in their newsletter, but I believe most of those go to other artists. I have seen them with clients in action and they do point out my work, so I am satisfied they are doing what they can. I guess I see it as fair since the people that see my work at their gallery may not see mine anywhere else. Besides - this gallery is barely hanging on, so I have no bad feelings about the 30% at all. I am not sure how I would feel if it were a high-sales gallery, but I do not believe I'd have a problem with them either. If they get me a commission I would not otherwise have, then they deserve it I feel. Now, I would not pay a fee under any condition for 'possible' commissions or to show my work in a gallery. But, if a commission actually results from my work being there then they deserve their cut.

Leslie Ficcaglia · 03-22-2004, 10:36 AM

Quote:

Originally Posted by Kimberly Dow

Leslie,

I have been in some wonderful galleries with high sales back when I lived in NH, but they closed down. Now I am a couple smaller ones so I do not expect much.

I am thinking specifically of one that has one of my portraits up. They have my cards displayed there and save brochures for those that appear truly interested. .... If they get me a commission I would not otherwise have, then they deserve it I feel. Now, I would not pay a fee under any condition for 'possible' commissions or to show my work in a gallery. But, if a commission actually results from my work being there then they deserve their cut.

Kimberly,

I agree that a gallery has a right to fees if they've promoted you and gotten you a commission, but I've had the advantage of a lot of press over the years so my reputation as a portrait artist is out there already. For me, commissions tend to come from word of mouth, internet exposure, and through my showing people my miniportfolio. The one time I had some pictures up at this gallery I was approached by someone who was interested in a portrait, but he already knew about my work and didn't end up commissioning the piece for almost a year after our discussion. It seemed that this was a portrait I would have been asked to paint anyway, so it never occurred to me to offer the gallery a commission on it.

For the high end galleries in NH, what were their policies regarding cards? I'm still trying to get a feel for how typical or reasonable the no-cards rule is for portrait artists.

Kimberly Dow · 03-22-2004, 11:05 AM

Leslie,

That gallery in NH did not show any business cards of artists. They were very tight with securing their clients and not letting any type of hook-up between buyers and artists occur - to preserve their part in it I guess. I used to work there part-time and it was very difficult to even get the name of people buying my work. I did not do portraits back then, but if I had I am quite positive they would not have had anything to do with that. Putting the artist in direct contact with the buyer would have (in their mind) jeopardized their commission since the artist could theoretically cut them out.

In your case, since the gallery is in the area you are well-known in - I can see why you would think they might not deserve the commission because it might not really come directly from them. I think my examples apply more to a gallery that is out of the area where you are known, so your work would be new to the clients there.

Marvin Mattelson · 03-22-2004, 11:10 AM

Leslie, I haven't had any dealings with galleries outside of those which housed portrait competitions. Business cards were encouraged since the shows were run by portrait societies who were subletting the galleries.

I do have an upcoming show this spring in a gallery that is run by a portrait agent so business cards are not going to handed out by individual artists. This is a first for me so we'll see how it goes. As always, I'm pessimistically optimistic about the outcome.

Anyone who views at a painting by me will see my very legible signature, Mattelson, and if they want to pursue me, they can type my name into google and locate me with no trouble. The uniqueness of my last name is an advantage in this case.

Leslie Ficcaglia · 03-22-2004, 11:33 AM

Quote:

Originally Posted by Marvin Mattelson

Anyone who views at a painting by me will see my very legible signature, Mattelson, and if they want to pursue me, they can type my name into google and locate me with no trouble. The uniqueness of my last name is an advantage in this case.

Marvin, Ficcaglia's fairly unique, as well, and it's clearly written on all my paintings. The problem is being able to spell it! I've listed common misspellings in the metatags for my site, but people have to be somewhere in the ballpark with their attempts and at a distance of months that may not happen. I have seen people show up at my site after a Google search for Leslie and portrait paintings, or other creative stabs. You've certainly given me something to think about, though. Thanks to you and Kimberly for your input!